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WHAT IS SYLLABUS?
A syllabus (/ˈsɪləbəs/;
plural syllabuses or syllabi) or specification is a document that communicates
information about a specific academic course or class and defines expectations
and responsibilities. It is generally an overview or summary of the curriculum.
A syllabus may be set out by an examination board or prepared by the tutor or
instructor who teaches or controls the course. In the case of jamb Music syllabus,
it is an official document containing outlines of relevant topic as mark out by
Jamb (link) to aid student preparation for the unified tertiary matriculation
examination simply known as UTME.
BENEFIT OF USING JAMB MUSIC SYLLABUS
Easy Combat: Jamb Music syllabus contains RELEVANT AND HOT
TOPICS to help you combat conundrum question you will found on your system in
the Exam Hall, and believe me sincerely jamb examiners are very technical,
logical and … when it comes to setting question.
Familiarizing yourself with the jamb Music syllabus is a
sure bet to scoring high in jamb.
Studying the syllabus thoroughly before exam gives you the
confidence that you are studying the right thing the right way at the very
right time.
HOW TO GET THE MOST OUT OF THIS COURSE.
1.
Read from cover to cover, from topic to topic
2.
Create a study schedule.
3.
Attend jamb tutorials.
4.
Brainstorm with friends
5.
Have a positive mentality that you will come out
in flying colours
JAMB MUSIC SYLLABUS
GENERAL OBJECTIVE.
The aim of the Unified Tertiary Matriculation Examination
syllabus in Music is to prepare aspirant of various higher institution in
Nigeria whether university, polytechnics, monotechnics & colleges of
education 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 analysis, the features of the
music of the different periods of Western and African music history, peoples,
its forms and the media;
3. Appreciate the influence of socio-cultural factors on the
lives and music of musicians.
JAMB MUSIC SYLLABUS
2023/2024 OUTLINE
SECTION A: RUDIMENTS OF MUSIC
1. The staff
(a) The great staff
(b) Ledger lines and spaces
(c) Open score (vocal score)
(d) C clef, alto (viola clef) and tenor clef.
2. Music Notes/Rests and their corresponding values.
3. Time/Time signature
(simple and compound time signatures), the
correct grouping of notes and barring of unbarred passages.
4. A – Key
signatures and scales:
(i) Diatonic major/minor (natural, harmonic
and melodic)
(ii) Names of the various degrees of the scale
B – Determination of the key of a piece of
music with or without key signature NOT exceeding two sharps and two flats.
5. (a) Keyboard setting and Enharmonic equivalents
(b) Accidentals
6. Recognition of diatonic
intervals and their inversions (e.g. perfect
unison, perfect 4th, perfect 5th, perfect 8ve), major/minor 2nd, 3rd, 6th and
7th, diminished 5thand augmented 4th.
7. Definition of simple musical terms, abbreviations and expressions.
8. (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.
SECTION B: ELEMENTARY HARMONY
1. Triads and
their inversions in major keys, NOT exceeding two sharps and two flats.
(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 triads 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 ii and viio
(vi) augmented triads is III+
NOTE D:
Primary triads are I, IV and V in major scales
but i, iv and V in harmonic minor scales.
2. (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
3. Kinds of motion; Parallel,
similar, contrary and oblique
4. Cadences in major keys NOT exceeding two sharps and two flats.
(a) perfect cadence
(b) imperfect cadence/semi cadence/half close
(c) Plagal cadence/Amen cadence
(d) interrupted cadence / deceptive cadence /
evaded cadence / surprise cadence
5. Non-Harmonic Tones/Non-Chord Tones; Identification And Application Of
The Following:
(a) neighbouring tones/auxiliary notes
(b) passing tones/notes
6. MODULATION
Simple diatonic modulations (using a single
melodic line only) from any given major key NOT exceeding two sharps and two
flats to any of its closely related keys (dominant and subdominant).
7. Elementary Composition:
(a) Setting of words to written melody:
(b) Recognition of suitable answers to given
musical phrases
SECTION C: HISTORY AND LITERATURE OF AFRICAN MUSIC
1. Nigerian folksongs, types, forms and characteristics.
(i)
(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: 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.
2. General knowledge of the features and forms of Nigeria traditional music
and dances.
(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, etc.
(ii) Dances: Social, Ritual And Ceremonial
e.g. Masquerade, Koroso,
Etilogwu, Ikperikpe (War dance), Egedeege, Kwaghir, Agbon, Nkwa Imuaghogho,
Bata, Bori, Swange, Dundun, Kokoma, Abigbo, Okonko, etc.
3. INSTRUMENTS:
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.
4. Knowedge of the
lives and music of the following African tradition musicians:
A. NIGERIANS
(i) Sani Sabulu, Sani Dan Indo, Hassan Wayam,
Barmani Coge, Danlami Nasarawa, Garba Super, Dankwairo, Aminu mai Asharalle,
Shehu Ajilo, Dan Maraya Jos, Dan Alalo, Mamman Shata, Haruna Uje, etc.
(ii) Ezigbo Obiligbo, Seven-Seven, Morocco
Maduka, Okechukwu Nwatu, etc.
(iii) Kokoro, the blind Minstrel, Anikura,
Tunde Alao etc.
B.
OTHER AFRICANS
Vinoko Akpalu, Daniel Amponsah (alias koo Nimo), Efua Basa, Kwaa Mensah etc.
5. Evolution and
Development of African Popular Music:
Highlife, Afro-beat, Fuji, Apala, Reggae,
Makosa, Ikwokirikwo, Okukuseku, Ekassa, Awurebe, Waka etc.
6.
Knowledge of the live and music of the following African Popular Musicians.
A. NIGERIANS:
Bongos Ikwe, Charles Oputa (alias Charlie
Boy), Oliver De Coque, Nelly Uchendu, Osita Osadebe, Bright Chimezie, Bobby
Benson, Victor Uwaifo, Sunny Okosun, Fela Anikulapo Kuti, I. K. Dairo, Victor
Olaiya, Ebenezer Obey, Sunny Ade, Fatai Rolling Dollar, Bala Miller, Alhaji Uba
Rawa, Zaaki Adzee, 2Face, Styl Plus, P. Square, Dijnee, Paul Play Dairo, Eedris
Abdulkareem, Debanj, Sunni Neji, Lagbaja, Zule Zoo, Daddy Showkey, Majek
Fashek, Ras Kimono, Jeremiah Gyang, 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, etc.
7. Knowledge of the lives and music of the following African Art Musicians:
A. NIGERIANS
W. W. C. Echezona, Laz Ekwueme, SamAkpabot,
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, etc.
B.
OTHER AFRICANS: Joseph S. Maison, N.
Z. Nayo, J. H. Kwabena Nketia, etc.
SECTION D:
HISTORY AND LITERATURE OF WESTERN MUSIC
1. (A) Historical development of Western music styles in respect of the
periods
(i) Medieval/Middle Age – 800 – 1400
(ii) Renaissance period – 1400 – 1600
(iii) Baroque period – 1600 – 1750
(iv) Classical period – 1750 – 1820
(v) Romantic period – 1820 – 1900
B. COMPOSERS
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.
2. MUSIC FORMS
(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.
SECTION E: COMPARATIVE MUSIC STUDIES
1. An overview of the
following black musicians (composers, performers, etc) in the diaspora. 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, etc.
2. 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.
3. The spirit of nationalism
in Nigerian music.
RECOMMENDED
TEXTBOOK FOR MUSIC JAMB SYLLABUS.
Akpabot, S. E. (1986).
Foundation of Nigerian Traditional Music, Ibadan: Spectrum.
Associated Board (1958).
Rudiments and Theory of Music, London.
Cole, W. (1969). The Form of
Music, London: The Associated Board of the Royal Schools of Music.
Echezona, W. W. C. (1981).
Nigerian Musical Instruments, Enugu: Apollo Publishing Ltd.
Ekwueme, L. (1993). Choir
Training and Choral Conducting for Africans, Lagos: Lenaus Advertising and
Publishing Company.
Holst, I. (1963). An ABC of
Music, Oxford: Oxford University Press.
Hosier, (1961). Instruments
of the Orchestra Oxford: Oxford University Press.
Hunt, R. (1960). Elements of
Music.
Inanga, A. (1993). Music for
Secondary Schools Vols. I and II, Ibadan: Spectrum.
Kamien, R. (1990). Music: An
Appreciation, McGraw – Hill Publishing Company.
Kennedy, M. (1985). The
Concise Oxford Dictionary of Music, (Third Edition), London: Oxford University
Press.
Kitson, C. H. (1978).
Elementary Harmony Book 2, London: Oxford University Press.
Kofoworola, Z. O. And Lateef,
Y. (1987). Hausa performing Arts and Music, Nigeria Magazine.
Lovelock, W. (1953). A
Concise History of Music, London: Bell and Hyman.
Machlis, J. (1977). The
Enjoyment of Music, New York: W. W. Norton.
Mensah, A. A. (Undated)
Folksongs for Schools, Accra.
Morris, R. O. (1974). The
Oxford Harmony, Vol. I, London: Oxford University Press.
Nketia, J. H. (1974). African
Music, New York: W. W. Norton Company.
Palmer, K. (1965). Teach
Yourself Music, London: The English University Press Limited.
Reed, H. O. (1954). Basic
Music: A Basic Theory Text, New York: 19, N. Y. Mills Music Inc.
Taylor, E. (1989). The Guide
to Music Theory, London: The Associated Board of The Royal Schools of Music.
Warburton, A. O. (1955).
Graded Music Course for Schools, Books I – III, London: Longman.