JAMB Syllabus for Music 2024/2025 | PDF Download

JAMB Syllabus For Music

The Joint Admission and Matriculation Board (JAMB) has recently released the official syllabus for Music for the academic year 2024/2025.

This strategic initiative aims to facilitate students’ preparation for the upcoming Unified Tertiary Matriculation Examination (UTME).

Objectives of JAMB Syllabus for Music

The JAMB syllabus for Music aims to prepare the candidates for the Board’s examination and to test candidates’ understanding, knowledge, and acquisition of the following areas of the subject:

  • Appreciate and discuss Music honestly and critically; Specify the parts of Music from various periods of Western and African music theory history, peoples, forms, and mediums through written/oral analysis;
  •  Recognize the impact of socio-cultural and technological variables on artists’ life and Music.
  • Obtain a solid musical foundation for subsequent study at the postsecondary level. Identify components.

Topics Under JAMB Music Syllabus

The topics in the JAMB syllabus for Music are divided into five sections.

Rudiments Of Music

Topics

  • The staff:
    • Great staff
    • Ledger lines and space
    • Open score (vocal score) and Understand C clef, alto (viola clef), and tenor clef.
Objectives
  • Participants should be able to identify all the components of the staff and their application.

Topics

  • Music Notes and their corresponding values.
Objectives

Participants should be able to determine the relative duration of different notes and rests.

Topics

  • Time signature includes simple and compound time signatures, the correct grouping of notes, and barring unbarred passages.
Objectives
  • Participants should be able to interpret varied rhythmic patterns.

Topics

A–Key signatures and scales:

  • Understand the technical names of the various degrees of the scale.
  •   Diatonic major/minor (natural, harmonic, and melodic)
  •   Chromatic scales.
  •   Identification of the key of a piece of Music with or without key signature NOT exceeding two sharps and two flats.
Objectives

Participants should be able to:

  • Knowledge of names of the various degrees of the diatonic scales.
  •   Identify simple scale passages with or without a key signature.

Topics

  • Keyboard setting and enharmonic equivalents
  •   Accidentals
Objectives
  • Participants should be able to determine the names of the white and black keys and the Relationship between them. 

Topics

  • Knowledge recognition of diatonic/ chromatic intervals and their inversions (e.g., perfect unison, perfect 8ve, perfect 4th, perfect 5th), major/minor 2nd, 3rd, 6th, and 7th, diminished 5th and augmented 4th
  •   Identification of consonant and dissonant intervals.
Objectives
  • Participants should be able to identify different qualities of intervals (melodic and harmonic)

Topics

  • Definition of simple musical terms, abbreviations, and signs.
Objectives
  • Participants should be able to interpret simple musical signs and terms.

Topics

  • Understand the transcription of Music from staff into tonic solfa notation and vice-versa.
  •   Knowledge of transposition using the treble (G) and bass (F) staves NOT exceeding two sharps and two flats.
Objectives

Participants should be able to:

  • Read Music in any given notation.
  •    Know how to Rewrite a music passage on a given stave.

Elementary Harmony

  • Knowledge of triads and their inversions in major/minor keys, not exceeding two sharps and two flats.
  • Primary triads in major keys.
  • Secondary triads in major keys.

NOTE A: Chord Indications

  • Know that major triads are indicated with capital Roman numerals, e.g., I
  • Understand that minor triad are indicated with small Roman numerals, e.g., ii.
  • Understand that diminished triads are indicated with small Roman numerals with an “o” sign, e.g.,viio.
  • The augmented triads are indicated with capital numerals with a “+,” e.g., III++.

NOTE B

  • In any major scale, major triads are I, IV, and V.
  • Minor triads are ii, iii, and vi.
  • The diminished triad is viio.

NOTE C

  • Understand that in any harmonic minor, minor triads are I and iv.
  • The major triads are V and VI.
  • Diminished triads are iio and viio.
  • The augmented triad is III++.

NOTE D

Understand the Primary triads are I, IV, and V in major scales, but i, iv, and V in harmonic minor scales

Objectives

Participants should be able to:

  • Identify triads
  • Compare types of triads
  • Determine the use of triads

Topic

  • Understanding Basic chord progressions in four parts vocal style (SATB) in major keys NOT exceeding two sharps and two flats.
  • Dominant 7th chord in root position only.
Objectives

Participants should be able to:

  • Identify the basic chord progressions in a music passage.
  •   Recognize the dominant 7th chord.

Topics

  • The kinds of motion: Parallel, similar, contrary, and oblique
Objectives
  • Participants should be able to identify the various kinds of motion in a musical passage.

Topics

  • The cadences in major keys do not exceed two sharps and two flats.
  •  Perfect/ full close cadence.
  •  Imperfect/ half close/ semi cadence.
  •  Plagal/Amen cadence.
  •  Interrupted / deceptive / evaded / surprise cadence.
Objectives
  • Participants should be able to identify the various types of cadences in a musical score.

Topics

  • Understand non-harmonic tones/Non-chord tones; identification and application of the following:
  •   Neighboring tones/auxiliary notes
  •   Passing tones/notes
Objectives
  • Participants should be able to relate harmonic or non-harmonic tones to the chords with which they are associated.

Topics

  • Modulation
  •   Understanding the Simple diatonic modulations (using a single melodic line) from any major key NOT exceed two sharps and two flats to any closely related keys (dominant and subdominant).
Objectives
  • Participants should be able to determine a given melody’s key and modulation.

Topics

  • Elementary Composition.
  • The setting of words to written melody.
  • Understanding of suitable answers to given musical phrases.
Objectives
  • Participants should be able to identify the following;
  • Suitable melodies to given words, compatible and balanced (parallel or contrasting) phrases.

History and Literature of African Music

Topics

  • Nigerian folksongs, types, forms, and characteristics.
  • Types: cradle, folk-tales, games, war, praise and work song, satirical, dirges/funeral, historical, etc.
  • Forms: call and response, strophic, through–composed, etc.
  • The vocal styles are recitative, yodeling, ululation, incantation, heaving, whistling, etc.
  • Scales/modes: tectonic, tetratomic, pentatonic, hexatonic, etc.,
  • Metre/Rhythm: Metric and non-metric, cross-rhythm, syncopation, hemiola, polymetric, polyrhythm, etc
Objectives

Participants should be able to:

  • Identify various folksongs and their types;
  • Define and compare their forms and features

Topics

  • Have a general knowledge of the features and forms of traditional Nigerian Music and other arts.
  • Festivals: e.g., Osun, Ifa, Ovia Osese, Argungu (Fishing), Eyo/Adamu –Orisa, Ogun, Ekpo, Ofala, Iri-ji (New Yam Festival), Mmanwu (Masquerade), Ila-Oso, Gelede, etc.
  • Dances and other arts: Ceremonial, Social, and Ritual, e.g., Koroso, Atilogwu, Masquerade, Ikperikpe (Wardance), Egedeege, Kwaghir, Agbon, Nkwa Umuagbogho, Bata, Bori, Swange, Dundun, Kokoma, Abigbo, Okonko, etc

Objectives

Participants should be able to:

  • Analyze the features and forms of traditional Nigerian Music and the arts.
  • Distinguish between the various types of festivals and dances.

Topic

  • Instruments: Nigerian traditional musical instruments:
    • Classifications Aerophones: Kakaki, algaita, sarewa, pedete, obati, farai, kaho, imar, mongom, taluk, damalgo, etc.
    • Oja, opi, pipilo,akpele, etc.
    • Ekutu, teremagbe, ayeta-ode, odikakora, etc.
    • Chordophones:Goge, kukuma, komo, kwamsa, kuntigi, lasha, molo, garaya, gurmi, etc.
    • Une, ubo-akwara, etc.
    • Goje, molo, etc
    • Idiophones:Kundung, karawa, shantu, etc.
    • Oyo, ichaka, ogene, aja, ekpili, ekwe, udu,, mgbiligba, alo, ubo-aka, ikoro, ngedegwu, okpokoro, ekere etc.
    • Sekere, agogo, agidigbo, alọ,eromwon,oma, aro, ukuse, etc
    • Membranophones:Ganga, tambari, taushi, banga, balle, kuntuku, kalangu, gangan-noma, tandu, etc.
    • Igba, nsing, ban yogume, emoba, etc.
    • Ipese, igbin, bata,dundun, agidigbo, gangan,bembe, gudugudu, kanango,etc
    • Know the lives and music of the following African traditional musicians:
Objectives

Participants should be able to

  • Distinguish between the various types and classes of musical instruments.
  •   Classify them into their categories.

Topics

Nigerians

  • Sani Sabulu, Sani Dan Indo, Hassan Wayam, Garba Super, Dankwairo, Aminu mai Asharalle, Barmani Coge, Danlami Nasarawa, Shehu Ajilo, Mamman Shata, Haruna Uje, Dan Maraya Jos, Dan Alalo, etc.
  • Ezigbo Obiligbo, Okechukwu Nwatu, Mike Ejeagha, Afam Ogbuotobo, Seven-Seven, Morocco Maduka, etc.
  • Kokoro, (the blind Minstrel), Ademola Onibon-okuta, ElemureOgunyemi, Anikura, Tunde Alao,Olanrewaju Adepoju,Comfort Omogeetc

  Other Africans

  •   Vinoko Akpalu, Kwaa Mensah, Daniel Amponsah (alias koo Nimo), EfuaBasa etc.
Objectives

Participants should be able to:

  • Determine different groups to which various musicians belong.
  • Trace their biographies.
  • Analyze their musical styles.
  • Assess their contributions to the music industry.

Topics

  • Development and evolution of African Popular Music
  • Highlife, Afro-beat, Fuji, Apala, Reggae,Hiplife, Hip-hop, Jujuetc, Makosa, Ikwokirikwo, Okukuseku, Ekassa, Akuko na egwu, Awurebe, Waka, 
  • Understanding of the lives and Music of the following popular African musicians.
Objectives

Participants should be able to:

  • Differentiate one musical genre from another.
  • Examine their influence on society.

Topic

Nigerians:

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

  Other Africans:

  • Manu Dibango, E. T. Mensah, Papa Wemba, Salif Kaita, Angelina Kidjo, Jerry Hansen, Kofi Olomide, Awilo Logomba, Lucky Dube, Yvonne Chakachaka, Brenda Fasie,Sarkodieetc.
Objectives

Participants should be able to:

  • Relationship between the musicians and the Music they perform.
  • Trace their biographies.
  • Examine their type of Music.
  • Understand their contributions to the development of Music.

Topics

  • Understand the lives and Music of the following African Art Musicians:
    • Nigerians: W. W. C. Echezona, Mosun Omibiyi-Obidike, Tunji Vidal, Ademola Adegbite, Laz Ekwueme, Sam Akpabot, Ikoli Harcourt Whyte,Ayo Bankole, Akin Euba, Sam Ojukwu, A. K. Achinivu, Bode Omojola,Joshua Uzoigwe,Yemi Olaniyan,Dayo Dedeke, Adams Fiberesima, Felix Nwuba, ChristopherOyesiku, Dan Agu, Chris Onyeji, Godwin Sadoh, Meki Nzewi, etc.
    • Other Africans: Joseph S. Maison, J. H. Kwabena Nketia, GymahLabi,Philip Gbeho,N. Z. Nayo,Ephraim Amu, C.K. Adom, A.A. Mensah, C.W.K. Mereku, etc.
Objectives

Participants should be able to:

  • Associate the musicians with the Music they perform.
  • Trace their biographies.
  • Analyze their type of Music.
  • Understand their contributions to the development of Music.

Topics

  • Understand the history And Literature Of Western Music
  • Understand the historical development of Western music styles in respect of the periods
  • Medieval/Middle Age (800 –1400).
  • Renaissance period (1400 –1600).
  • Baroque period (1600 –1750).
  • Classical period (1750 –1820).
  • Romantic period (1820 –1900).
Objectives

Participants should be able to trace the stages of the development of western musical practice from the medieval to the end of the romantic period.

Topics

  • Composers.
  • Palestrina, Claudio Monteverdi, G. F. Handel, W. A. Mozart, FranzJoseph Haydn,Henry Purcell, J.S. Bach, Ludwig van Beethoven, Franz Schubert, Frederic Chopin, etc.
Objectives

Participants should be able to:

  • Identify the composers.
  • Assess their contributions.
  • Music Forms And Media.
  • Binary, Ternary, Dance Suite, Canon, Rondo, SonataAllegro, Free Fantasia, Theme and variation, etc.
  • Orchestral and Band instruments and classifications
  • Understand the human voice (its types, ranges, and qualities)
  • Keyboard Instruments–the organ, piano, electronic keyboard, etc.
  • Knowledge of instruments: ukulele, banjo, guitar, mandolin, harp, accordion, xylophone, marimba, etc.
  • Computer Music Technology: software (Finale, Reason, Sound Forge Nero, Sibelius, Cubase), tuning fork, pitch pipe, etc
Objectives

Participants should be able to:

  • Identify the general forms and various musical instruments in Western Music.
  • Relate Music to modern technology.

Topics

Comparative Music Studies

  • Have an overview of the following black musicians (composers, performers, songwriters, etc.) in the diaspora.
  • Bob Marley
  • Mighty Sparrow
  • Michael Jackson
  • James Brown
  • Boyz II Men
  • Sean Paul
  • Janet Jackson
  • Stevie Wonder
  • Lionel Richie
  • R. Kelly
  • Lorrinan Hill
  • Kirk Franklin
  • Tupac Shakur
  • Shabba Ranks
  • Quincy Jones
  • 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.

Objectives

Participants should be able to:

  • Identify the musicians in the diaspora;
  • Assess their musical influence on global society.

Topics

  • Forms to be established include negro spiritual, gospel music, jazz, rhythm and blues, soul, calypso, rock ‘n’ roll, reggae, afro-beat, tango, rap, chachacha, bolero, twist, hip-hop, etc.
Objectives

Participants should be able to:

  • Identify the various forms of musical genres;
  • Trace the origins of the musical genres.

Topics

  • Understand the spirit of nationalism in Nigerian Music.
Objectives

Candidates should be able to:

  • Specify some of the features and materials used by nationalist composers to create, project, and sustain cultural and patriotic awareness;
  • Assess their roles in Nigerian nationalism.

PDF Download of JAMB Syllabus For Music 2024/2025

You can now download the JAMB Music syllabus as you prepare for your exams.

Conclusion

The official JAMB syllabus for Music serves as a valuable guide, aiding your focused preparation for the upcoming JAMB examinations.

While it is essential to engage with the syllabus, it is important to recognize that not all examination questions will directly align with its content. Nevertheless, you will undoubtedly find it beneficial.

We recommend downloading the syllabus PDF from this post and sharing it with your peers to enhance their chances of exceptional exam performance.

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