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JAMB Syllabus for Music | 2021 Official Version

JAMB Syllabus for Music 2021: Joint Admissions and Matriculation Board (JAMB) Syllabus for Music. This is the 2021 Updated and Official Syllabus.

jamb syllabus for music

In this page, Allschool will show you the JAMB Syllabus for Music. We will also show you the list of recommended JAMB Syllabus for Music.

You can as well download the PDF of this JAMB Syllabus for Music (you can get the download link before the list of approved text books for Music).

The aim of the Unified Tertiary Matriculation Examination (UTME) syllabus in Music is to prepare the candidates
for the Board’s examination. It is designed to test their achievement of the course objectives which are to:

  1. appreciate and discuss music fairly and critically;
  2. identify, through written/aural analysis, the features of the music of different periods of Western and
    African music theory history, peoples, its forms and the media;
  3. appreciate the influence of socio-cultural and technological factors on the lives and music of musicians.
  4. attain a sound musical basis for further learning at the tertiary level.

PLEASE NOTE: After listing out recommended text-books below, you will see an option to view syllabus for other subjects.

Recommended Links:

Page Contents

JAMB Syllabus for Music

DOWNLOAD PDF

You can CLICK HERE to download the JAMB Syllabus for Music 2021 PDF or continue reading it on this website below.

The syllabus is broadly covers topics from:

  1. COMPARATIVE MUSIC STUDIES
  2. ELEMENTARY HARMONY
  3. HISTORY AND LITERATURE OF AFRICAN MUSIC
  4. HISTORY AND LITERATURE OF WESTERN MUSIC
  5. RUDIMENTS OF MUSIC

Now the detailed topics, area of focus and what candidates are expected to know after reading each topic…

(a) COMPARATIVE MUSIC STUDIES

This topic has three sub-topics. They are

(i) AN OVERVIEWS OF THE FOLLOWING BLACK MUSICIANS (COMPOSERS, PERFORMERS, ETC) IN THE DIASPORA

Candidates should focus on: Mighty Sparrow, James Brown, Bob Marley, Michael Jackson, Stevie Wonder, Lionel Richie, R. Kelly, Lorrinan Hill, Kirk Franklin, Tupac Shakur, Shabba Ranks, Quincy Jones, Boyz II Men, Sean Paul, Janet Jackson, Whitney Houston, Beyonce, Brandy, Usher, Kevin Lyttle, Bobby Brown, M. C. Hammer, L. L. Cool J., Dr. Dre, Snoop Doggy, Mary J. Blige, Jay Z, Chris Brown, Bruno Mars, Neo, Rihanna etc.

After reading, candidates should be able to:

i. identify the musicians in the diaspora.
ii. assess their musical influence on the global society.

(ii) MUSICAL GENRES

Candidates should focus on: Forms to be examined include negro spiritual, gospel music, jazz, rhythm and blues, soul, calypso, rock -n-roll, reggae, afro-beat, tango, rap, chachacha, bolere, twist, hip-hop, etc.

After reading, candidates should be able to:

i. identify the various forms of musical genres.
ii. trace the origins of the musical genres.

(iii) THE SPIRIT OF NATIONALISM IN NIGERIAN MUSIC

After reading, candidates should be able to:

i. identify some of the features and materials used by nationalist composers to create, project and sustain cultural and patriotic awareness.
ii. assess their roles in Nigerian nationalism.

(b) ELEMENTARY HARMONY

This topic has seven (7) sub-topics. They are:

(i) BASIC CHORD PROGRESSIONS IN FOUR PART VOCAL STYLE (SATB) IN MAJOR KEYS NOT EXCEEDING TWO SHARPS AND TWO FLATS

Candidates should focus on:

(a) Basic chord progressions in four part vocal style (SATB) in major keys NOT exceeding two sharps and two flats.
(b) Dominant 7th chord in root position only.

After reading, candidates should be able to:

i. determine the basic chord progressions in a music passage.
ii. Recognize the dominant 7th chord.

(ii) CADENCES IN MAJOR KEYS NOT EXCEEDING TWO SHARPS AND TWO FLATS

Candidates should focus on:

(a) Perfect / full close cadence.
(b) Imperfect / half close / semi cadence.
(c) Plagal / Amen cadence.
(d) Interrupted / deceptive / evaded / surprise cadence.

After reading, candidates should be able to: identify the various types of cadences in a musical score.

(iii) ELEMENTARY COMPOSITION

Candidates should focus on:

(a) Setting of words to written melody.
(b) Recognition of suitable answers to given musical phrases.

After reading, candidates should be able to identify suitable melody to given words, compatible and balanced (parallel or contrasting) phrases.

(iv) KINDS OF MOTIONS

Candidates should focus on: Parallel, similar, contrary and oblique.

After reading, candidates should be able to identify the various kinds of motion in a musical passage.

(v) MODULATION

Candidates should focus on: Simple diatonic modulations (using a single melodic line) from any given major key NOT exceeding two sharps and two flats to any of its closely related keys (dominant and subdominant).

After reading, candidates should be able to determine the key of a given melody and its modulation.

(vi) NON-HARMONIC TONES/NON-CHORD TONES

Candidates should focus on:

(a) Neighboring tones/auxiliary notes.
(b) Passing tones/notes.

After reading, candidates should be able to: relate harmonic or non-harmonic tones to the chords with which they are associated.

(vii) TRIADS AND THEIR INVERSIONS IN MAJOR/MINOR KEYS, NOT EXCEEDING TWO SHARPS AND TWO FLATS

Candidates should focus on:

(a) Primary triads in major keys.
(b) Secondary triads in major keys.

NOTE A: CHORD INDICATIONS
(i) Major triads are indicated with capital Roman numerals e.g. I.
(ii) Minor triads are indicated with small Roman numerals e.g. ii.
(iii) Diminished triads are indicated with small Roman numerals with a “o” sign, e.g. viio.
(iv) Augmented triads are indicated with capital numerals with a “+”, e.g III+.

NOTE B:
(i) In any major scale, major triads are I, IV and V.
(ii) Minor triads are ii, iii and vi.
(iii) Diminished triad is viio

NOTE C:
(i) In any harmonic minor, minor triads are I and iv.
(ii) Major triads are V and VI.
(iii) Diminished triads are iio and viio.
(vi) Augmented triad is III+.

NOTE D:
(i) Primary triads are I, IV and V in major scales but I, iv and V in harmonic minor scales.

After reading, candidates should be able to:

i. identify triads.
ii. compare types of triads.
iii. determine the use of triads.

(c) HISTORY AND LITERATURE OF AFRICAN MUSIC

This topic has 6 sub-topics. Viz:

(i) EVOLUTION AND DEVELOPMENT OF AFRICAN POPULAR MUSIC

Candidates should focus on: Highlife, Afro-beat, Fuji, Apala, Reggae, Makosa, Ikwokirikwo, Okukuseku, Ekassa, Akuko na egwu, Awurebe, Waka, Hiplife, Hip-hop, Juju etc.

After reading, candidates should be able to:

i. differentiate one musical genre from another.
ii. examine their influence on society.

(ii) GENERAL KNOWLEDGE OF THE FEATURES AND FORMS OF NIGERIA TRANDITIONAL MUSICS AND OTHER ART

Candidates should focus on:

(i) Festivals: e.g. Osun, Ifa, Ogun, Ekpo, Ofala, Iri-ji (New Yam Festival), Ovia Osese, Mmanwu (Masquerade), Ila-Oso, Argungu (Fishing), Eyo/Adamu – Orisa, Gelede, 
(ii) Dances and other arts: Social, Ritual and Ceremonial e.g. Masquerade, Koroso, Atilogwu, Ikperikpe (War dance), Egedeege, Kwaghir, Agbon, Nkwa Umuagbogho, Bata, Bori, Swange, Dundun, Kokoma, Abigbo, Okonko, etc.

After reading, candidates should be able to:

i. Analyse the features and forms of Nigerian traditional music and the arts.
ii. Differentiate between the various types of festivals and dances.

(iii) INSTRUMENTS

Candidates should focus on:

Nigerian traditional musical instruments:

CLASSIFICATIONS:

(a) Aerophones:
(i) Kakaki, algaita, sarewa, pedete, obati, farai, kaho, imar, mongom, taluk, damalgo, etc.
(ii) Oja, opi, pipilo, odu, nnuk, ugene, ofiom, akpele, etc.
(iii) Ekutu, teremagbe, ayeteode, odikakora, etc.

(b) Chordophones:
(i) Goge, kukuma, komo, kwamsa, kuntigi, lasha, molo, garaya, gurmi, etc.
(ii) Une, ubo-akwara, etc.
(iii) Goje, molo, etc.

(c) Idiophones:
(i) Kundung, karawa, shantu, etc.
(ii) Oyo, ichaka, ogene, aja, ekpili, aja, ekwe, udu, ikoro, ngedegwu, okpokoro, ekere, mgbiligba, ikpo, alo, ubo-aka, etc.
(iii) Sekere, agogo, agidigbo, alo, oma, aro, ukuse, eromwon, etc.

(d) Membranophones:
(i) Ganga, tambari, taushi, banga, balle, kuntuku, kalangu, gangan-noma, tandu, etc.
(ii) Igba, nsing, ban yogume, emoba, etc.
(iii) Ipese, igbin, bata, bembe, gudugudu, kanango, dundun, agidigbo, gangan, etc.

After reading, candidates should be able to:

i. differentiate between the various types and classes of musical instruments.
ii. classify them into their categories.

(iv) KNOWLEDGE OF THE LIVE AND MUSIC OF THE FOLLOWING AFRICAN POPULAR MUSICIANS

Candidates should focus on:

A. NIGERIANS:
Bongos Ikwe, Oliver De Coque, Nelly Uchendu, Osita Osadebe, Bright Chimezie, Bobby Benson, Victor Uwaifo, Sonny Okosun, Fela Anikulapo Kuti, I. K. Dairo, Victor Olaiya, Ebenezer Obey, Sunny Ade, Fatai Rolling Dollar, Bala Miller, Alhaji Uba Rawa, Zaaki Adzee, 2Face, PSquare, Djnee, Paul Play Dairo, Eedris Abdulkareem, D’Banj, Sunni Neji, Lagbaja, Zule Zoo, Daddy Showkey, Majek Fashek, Ras Kimono, Jeremiah Gyang, Flavour, Olamide, M.I, Iyanya, Wizkid, Davido, Omawunmi, Lara George, Sola Allynson, Ara, Asa, Onyeka Onwenu, Christy Essien-Igbokwe, Nasir Hausawa etc.

B. OTHER AFRICAN:
Manu Dibango, E. T. Mensah, Jerry Hansen, Kofi Olomide, Awilo Logomba, Papa Wemba, Salif Kaita, Angelina Kidgo, Lucky Dube, Yvonne Chakachaka, Brenda Fasie, Sarkodie etc.

After reading, candidates should be able to:

i. relate the musicians to the music they perform.
ii. trace their biographies.
iii. examine their type of music.
iv. assess their contributions to the development of music.

(v) KNOWLEDGE OF THE LIVES AND MUSIC OF THE FOLLOWING AFRICAN ART MUSICIANS

Candidates should focus on:

A.NIGERIANS:
W. W. C. Echezona, Laz Ekwueme, Sam Akpabot, Ikoli Harcourt Whyte, Joshua Uzoigwe, Mosun Omibiyi-Obidike, Tunji Vidal, Ademola Adegbite, Yemi Olaniyan, Ayo Bankole, Akin Euba, Sam Ojukwu, A. K. Achinivu, Bode Omojola, Felix Nwuba, Christopher Oyesiku, Dayo Dedeke, Adams Fiberesima, Dan Agu, Chris Onyeji, Godwin Sadoh, Meki Nzewi, etc.

B. OTHER AFRICANS:
Joseph S. Maison, N. Z. Nayo, J. H. Kwabena Nketia, Gymah Labi, Philip Gbeho, Ephraim Amu, C.K. Adom, A.A. Mensah, C.W.K. Mereku, etc.

After reading, candidates should be able to:

i. relate the musicians to the music they perform.
ii. trace their biographies.
iii. examine their type of music.
iv. assess their contributions to the development of music.

(vi) NIGERIAN FOLKSONGS, TYPES, FORMS AND CHARACTERISTICS

Candidates should focus on:

(a) Types: cradle, folk-tales, games, war, satirical, dirges/funeral, elegies, historical, masquerade, praise and work song, etc.
(b) Forms: call and response, strophic, through – composed, etc.
(c) Characteristics:
(i) Vocal styles: recitative, yodeling, ululation, incantation, heaving, whistling, etc.
(ii) Scales/modes: tritonic, tetratonic, pentatonic, hexatonic etc.
(iii) Metre/Rhythm: Metric and non-metric, polymetric, cross rhythm, syncopation, hemiola, polyrhythm, etc.

After reading, candidates should be able to:

i. identify various folksongs and their types.
ii. define and compare their forms and features.

(d) HISTORY AND LITERATURE OF WESTERN MUSIC

This topic has just three sub-topics. They are:

(i) COMPOSERS

Candidates should focus on Palestrina, Claudio Monteverdi, Henry Purcell, J.S. Bach, G. F. Handel, W. A. Mozart, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Frederic Chopin, etc.

After reading, candidates should be able to:

i. identify the composers.
ii. assess their contributions.

(ii) HISTORICAL DEVELOPMENT OF WESTERN MUSIC STYLES IN RESPECT OF THE PERIODS

Candidates should focus on:

(a) Medieval/Middle Age – 800 – 1400.
(b) Renaissance period – 1400 – 1600.
(c) Baroque period – 1600 – 1750.
(d) Classical period – 1750 – 1820.
(e) Romantic period – 1820 – 19

After reading, candidates should be able to Trace the stages of the development of western musical practice from the medieval to the end of the romantic period.

(iii) MUSIC FORMS AND MEDIA

Candidates should focus on:

(i) Binary, Ternary, Rondo, Sonata Allegro, Dance Suite, Canon, Free Fantasia, Theme and variation, etc.
(ii) Orchestral and Band instruments and classifications.
(iii) The human voice (its types, ranges and qualities).
(iv) Keyboard Instruments – the organ, piano and electronic keyboard, e.t.c.
(v) Knowledge of the following instruments: Ukulele, banjo, guitar, mandoline, harp, accordion, xylophone, marimba, etc.
(vi) Computer Music Technology: software (Finale, Sibelius, Cubase, Reason, Sound Forge Nero), tuning fork, pitch pipe etc.

After reading, candidates should be able to:

i. identify the general forms and various types of instruments in Western music.
ii. relate music to modern technology.

(e) RUDIMENTS OF MUSIC

This topic has eight (8) sub-topics.

(i) A-KEY SIGNATURES AND SCALES

Candidates should focus on:

(a) Technical names of the various degrees of the scale.
(b) Diatonic major/minor (natural, harmonic and melodic).
(c) Chromatic scales.
(d) Determination of the key of a piece of music with or without key signature NOT exceeding two sharps and two flats.

After reading, candidates should be able to:

i. ascertain names of the various degrees of the diatonic scales.
ii. identify simple scale passages with or without key signature.

(ii) DEFINITION OF SIMPLE MUSICAL TERMS, SIGNS AND ABBREVIATIONS

After reading, candidates should be able to: interpret simple musical signs and terms.

(iii) INTERVALS

Candidates should focus on:

a. Recognition of diatonic / chromatic intervals and their inversions (e.g. perfect unison, perfect 4th, perfect 5th, perfect 8ve), major/minor 2nd, 3rd, 6th and 7th, diminished 5th and augmented 4th.
b. Recognition of consonant and dissonant intervals.

After reading, candidates should be able to determine different qualities of intervals (melodic and harmonic).

(iv) KEYBOARD SETTING, ENHARMONIC EQUIVALENTS AND ACCIDENTAL

Candidates should focus on:

(a) Keyboard setting and enharmonic equivalents.
(b) Accidentals.

After reading, candidates should be able to: identify the names of the white and black keys and their relationship, e.g. (C sharp = Db = Bx).

(v) MUSIC NOTES / RESTS AND THEIR CORRESPONDING VALUES

After reading, candidates should be able to: Determine the relative duration of different notes and rests.

(vi) THE STAFF

Candidates should focus on:

(a) The great staff.
(b) Ledger lines and spaces.
(c) Open score (vocal score). 
(d) C clef, alto (viola clef) and tenor clef.

After reading, candidates should be able to:  Identify all the components of the staff and their application.

(vii) TIME/TIME SIGNATURE

Candidates should focus on: (Simple and compound time signatures), the correct grouping of notes and barring of unbarred passages.

After reading, candidates should be able to: Interpret varied rhythmic patterns in monotone.

(viii) TRANSCRIPTION OF MUSIC FROM STAFF INTO TONIC SOLFA NOTATION AND VICE-VERSA

Candidates should focus on:

(a) Transcription of music from staff into tonic solfa notation and vice-versa.
(b) Transposition using the treble (G) and bass (F) staves NOT exceeding two sharps and two flats.

After reading, candidates should be able to:

i. read music in any given notation.
ii. rewrite a music passage on a given stave.

DOWNLOAD JAMB SYLLABUS FOR MUSIC

Kindly click on the download button to download the JAMB Syllabus for Music in PDF (Note: You will however need a device that is capable of opening PDF files to access the syllabus).

DOWNLOAD PDF

JAMB APPROVED BOOKS FOR MUSIC

Below are the recommended text-books for candidates who will write Music in UTME. The title of the books are in bold.

  1. Akpabot, S. E. (1986) Foundation of Nigerian Traditional Music, Ibadan: Spectrum.
  2. Associated Board of the Royal School of Music (1958) Rudiments and Theory of Music, London.
  3. Cole, W. (1969) The Form of Music, London: The Associated Board of the Royal Schools of Music.
  4. Echezona, W. W. C. (1981) Nigerian Musical Instruments, Enugu: Apollo Publishing Ltd.
  5. Ekwueme, L. (1993) Choir Training and Choral Conducting for Africans, Lagos: Lenaus Advertising and Publishing Company.
  6. Holst, I. (1963) An ABC of Music, Oxford: Oxford University Press.
  7. Hosier, (1961) Instruments of the Orchestra, Oxford: Oxford University Press.
  8. Hunt, R. (1960) Elements of Music.
  9. Inanga, A. (1993) Music for Secondary Schools Vols. I and II, Ibadan: Spectrum.
  10. Kamien, R. (1990) Music: An Appreciation, London: McGraw – Hill Publishing Company.
  11. Kennedy, M. (1985) The Concise Oxford Dictionary of Music, (Third Edition), London: Oxford University Press.
  12. Kitson, C. H. (1978) Elementary Harmony Book 2, London: Oxford University Press.
  13. Kofoworola, Z. O. And Lateef, Y. (1987) Hausa performing Arts and Music, Lagos: Nigeria Magazine.
  14. Lovelock, W. (1953) A Concise History of Music, London: Bell and Hyman.
  15. Lovelock, W.(1996) The Rudiments of Music, London. G. Bell and sons Limited.
  16. Machlis, J. (1977) The Enjoyment of Music, New York: W. W. Norton.
  17. Mensah, A. A. (Undated) Folksongs for Schools, Accra.
  18. Morris, R. O. (1974) The Oxford Harmony, Vol. I, London: Oxford University Press.
  19. Nketia, J. H. (1974) African Music, New York: W. W. Norton Company.
  20. Palmer, K. (1965) Teach Yourself Music, London: The English University Press Limited.
  21. Reed, H. O. (1954) Basic Music: A Basic Theory Text, New York:, N. Y. Mills Music Inc.
  22. Taylor, E. (1989) The Guide to Music Theory, London: The Associated Board of The Royal Schools of Music.
  23. Warburton, A. O. (1955) Graded Music Course for Schools, Books I – III, London: Longman.

Select a subject below to view its JAMB Syllabus


Allschool wishes you best of luck.

Source: JAMB IBASS.

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