Subject overview
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:
Official syllabus Content is taken from the official JAMB UTME syllabus (IBASS). Last checked: 17 Sept 2026. Always confirm at jamb.gov.ng.
Your progress
Mark topics as you go to track your readiness.
Study the syllabus below, then test yourself. Move each topic from Not started → Learning → Practising → Mastered.
General objectives
The Music syllabus is designed to test candidates' ability to:
- 1. appreciate and discuss the foundations of Music fairly and critically
- 2. identify the features of the music of different periods through written/aural analysis;
- 3. investigate the Western and African music theory, history, peoples, forms and medium of performance (including instrumentation);
- 4. recognise the influence of socio-cultural and technological factors (including computer software application) on the lives and music of musicians;
- 5. acquire a sound musical basis for further learning at the tertiary level.
How this paper is examined
JAMB Music is a Computer-Based Test of 40 multiple-choice questions worth 100 marks. There is no negative marking, so attempt every question. It is taken with Use of English and two other subjects, for 180 questions in two hours overall.
How to use this syllabus: don't just read it — turn each topic into a checklist. Study a topic, then immediately practise questions on it so the knowledge sticks. Give extra time to the sections that carry the most topics, and revisit weak areas with timed practice as the exam approaches.
Topics & recommended order
Work through these topics in order. Mark each one as you go — your progress is saved on this device.
1. The staff
Not startedRUDIMENTS OF MUSIC · Study
RUDIMENTS OF MUSIC · Study
3. Time-signature
Not startedRUDIMENTS OF MUSIC · Study
4. A . Key-signatures and scales
Not startedRUDIMENTS OF MUSIC · Study
RUDIMENTS OF MUSIC · Study
6. Intervals
Not startedRUDIMENTS OF MUSIC · Study
RUDIMENTS OF MUSIC · Study
8. (a) Transcription of
Not startedRUDIMENTS OF MUSIC · Study
ELEMENTARY HARMONY · Study
ELEMENTARY HARMONY · Study
11. Kinds of motion;
Not startedELEMENTARY HARMONY · Study
ELEMENTARY HARMONY · Study
13. Non-harmonic
Not startedELEMENTARY HARMONY · Study
14. Modulation
Not startedELEMENTARY HARMONY · Study
15. Elementary Composition
Not startedELEMENTARY HARMONY · Study
HISTORY AND LITERATURE OF AFRICAN MUSIC · Study
HISTORY AND LITERATURE OF AFRICAN MUSIC · Study
18. INSTRUMENTS
Not startedHISTORY AND LITERATURE OF AFRICAN MUSIC · Study
19. Knowledge of the lives and music of the
Not startedHISTORY AND LITERATURE OF AFRICAN MUSIC · Study
A. NIGERIANS · Study
21. Vinoko Akpalu, Daniel Amponsah (alias
Not startedB. OTHER AFRICANS · Study
B. OTHER AFRICANS · Study
B. OTHER AFRICANS · Study
HISTORY AND LITERATURE OF WESTERN MUSIC · Study
B. COMPOSERS · Study
26. MUSIC FORMS AND MEDIA
Not startedB. COMPOSERS · Study
COMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
30. Adesipe, A.E. (2025). Artificial Intelligence in African Music and Instrumental Technology,
Not startedCOMPARATIVE MUSIC STUDIES · Study
31. Adesipe, A.E. (2024). Nigerian Festivals and Traditional Instruments, Amazon Kindle Direct
Not startedCOMPARATIVE MUSIC STUDIES · Study
32. Adesipe, A.E. (2025). African Music and Instrumental Technology, Amazon Kindle Direct
Not startedCOMPARATIVE MUSIC STUDIES · Study
33. Akpabot, S.E. (1986). Foundation of Traditional Music. Ibadan Spectrum Books, Nigeria.
Not startedCOMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
COMPARATIVE MUSIC STUDIES · Study
Full Music syllabus
Every section and topic below is from the official JAMB syllabus, reproduced faithfully.
SECTION A: RUDIMENTS OF MUSIC
1. The staff
- (a) Great staff
- (b) Ledger lines and spaces
- (c) Open score (vocal score) and
- (d) G clef (Treble), C clef (Alto, Tenor, etc) F clef
- (Bass).
2. Music Notes/Rests and their corresponding values.
3. Time-signature
- (simple and compound time-signatures), the correct grouping of notes and barring of unbarred passages.
4. A . Key-signatures and scales
- (i) Technical names of the various degrees of the scale
- (ii) Diatonic major/minor (natural, harmonic and melodic)
- (iii) Chromatic scales.
- 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. Intervals
- 6a. 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
7. Definition of simple musical terms, signs and
- abbreviations.
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/minor 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 triad is viio
2. (a) Basic chord progressions in four parts
- 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 / full close cadence
- (b) imperfect / half close / semi cadence
- (c) plagal / Amen cadence
- (d) interrupted / deceptive / evaded / surprise cadence.
5. Non-harmonic
- tones
- /
- Non-chord tones;
- identification and application of the following:
- (a) neighbouring tones / auxiliary notes; and
- (b) passing tones / notes.
6. Modulation
- 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).
7. Elementary Composition
- (a) Setting of words to written melody
- (b) Recognition of suitable answers to given musical phrases
- (c) Two-part free counterpoint.
SECTION C: HISTORY AND LITERATURE OF AFRICAN MUSIC
1. Nigerian folksongs, types, forms and characteristics.
- (a) Types: cradle, folk-tales, games, war, satirical, dirges / funeral, historical, praise and worksong, etc.
- (b) Forms: call and response, strophic, through
- – composed, antiphony, etc.
- (c) Characteristics:
- (i) Vocal styles: recitative, yodeling, ululation, incantation, heaving, whistling, nasalisation, etc.
- (ii)Scales/modes: tritonic, tetratonic, pentatonic, hexatonic etc.
- (iii) Metre/Rhythm:
- Metric and non-metric, polymetric, cross-rhythm, syncopation, hemiola, poly-rhythm, etc.
2. General knowledge of the features and forms of
- Nigerian traditional music and other arts.
- (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 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.
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, udu, nnuk, ofiom, akpele, etc.
- (iii) ekutu, teremagbe, ayeta-ode, odikakora,
- etc.
- (b) Chordophones
- (i) goge, kukuma, komo, kwamsa, kuntigi, lasha, molo, garaya, gurmi, etc.
- (ii) une, ubo-akwara, etc.
- (iii) goje, molo, etc
4. Knowledge of the lives and music of the
- following African traditional 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 Uji, etc.
- (ii) Ezigbo
- Obiligbo,
- Seven-Seven,
- Morocco
- Maduka, Okechukwu Nwatu, Mike Ejeagha,
- Afam Ogbuotobo etc.
- (iii) Kokoro, (the blind Minstrel), Anikura, Tunde
- Alao,Olanrewaju Adepoju, Ademola Onibon- okuta, Elemure Ogunyemi, Comfort Omoge 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, Juju, Afro-beat, Fuji, Apala, Reggae,
- Makosa, Ikwokirikwo, Okukuseku, Ekassa, Akuko na egwu, Awurebe, Waka, Hiplife, Hip-hop, etc.
6. Knowledge of the lives and music of the following
- African Popular Musicians.
- A. NIGERIANS:
- Bongos Ikwe, Oliver De Coque, Nelly Uchendu,
- Osita Osadebe, Bright Chimezie, Bobby Benson,
7. Knowledge of the lives and music of the following
- African Art Musicians:
- 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, Solomon Ikibe, Idolor E.G., Femi
- Adedeji, Anthony Mereni, A. A. Layade, 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, A. A.
- Agordoh, J. O. Ofosu, S.G. Boateng 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).
- (vi) 20th Century (1900-1999).
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,
- Igor
- Stravinsky,
- Arnold
- Schoenberg, Zoltan Kodaly, Claude Debussy, etc.
2. MUSIC FORMS AND MEDIA
- (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, electronic keyboard, etc.
- (v) Knowledge of the following instruments:
- ukulele, banjo, guitar, mandolin, harp, accordion, xylophone, marimba, etc.
- (vi) Computer Music Technology: software (Finale,
- Sibelius, Cubase, Reason, Sound Forge Nero), tuning fork, pitch pipe, etc.
- (iii) Introduction to Artificial Intelligence (AI) in Music
- Technology: (meaning, evolutionary trend/ historical background, types, application of AI tools in Music composition, AI-Powered Music Generators 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, Jay Z, Chris Brown, Bruno Mars, Neo, Rihanna,
- Loius Armstrong, Jimmy Cliff, Diana Ross, etc.
2. Forms to be examined include African-America
- spiritual, gospel music, jazz, rhythm and blues, soul, calypso, rock ‘n’ roll, reggae, afro-beat, tango, rap, chachacha, bolero, twist, hip-hop, etc.
3. The spirit of nationalism in Nigerian music.
- One Love – Onyeka Onwenu
- Which Way Nigeria?- Sonny Okosun
- First National Anthem (Nigeria We Hail Thee) –
- Frances Brenda (1960-1978)
1. Adesipe, A.E. (2025). Essential Music for Senior Secondary Schools with Introduction to Artificial
- Intelligence. Tonad Publishers, Mowe Ibafo, Ogun State, Nigeria. Also available on Amazon Kindle
- Direct Publishing platform.
2. Adesipe, A.E. (2025). Artificial Intelligence in African Music and Instrumental Technology,
- Amazon Kindle Direct Publishing.
3. Adesipe, A.E. (2024). History of Nigerian Folksongs, ADLEK Printing Press, Ilorin Kwara State,
- Nigeria. Also available on https://selar.co/hy5796,https://selar.com/jf4f24
4. Adesipe, A.E. (2024). Nigerian Festivals and Traditional Instruments, Amazon Kindle Direct
- Publishing. Also available on https://selar.com/580b72
5. Adesipe, A.E. (2025). African Music and Instrumental Technology, Amazon Kindle Direct
- Publishing.
6. Akpabot, S.E. (1986). Foundation of Traditional Music. Ibadan Spectrum Books, Nigeria.
7. Agu, C.C. (1999). Forms and Analysis of African Music. Enugu: New Generation Books, Nigeria.
8. Echezona, W. W. C. (1981). Nigerian Musical Instruments, Enugu: Apollo Publishing Ltd. Nigeria.
9. Ekwueme, Lucy. U. (2007). Songs for Happy Little People, Lagos: West African Book Publisher
- Limited
10. Hosier, (1961). Instruments of the Orchestra Oxford: Oxford University Press.
11. Kamien Roger (2008). Music An Appreciation. New York McGraw Hill Book Company.
12. Kennedy, M. (1985). The Concise Oxford Dictionary of Music, (Third Edition), London: Oxford
- University Press.
13. Kitson, C. H. (1978). Elementary Harmony Book 2, London: Oxford University Press.
14. Kofoworola, Z. O. And Lateef, Y. (1987). Hausa performing Arts and Music, Lagos: Nigeria
- Magazine.
15. Mensah, A. A. (Undated) Folksongs for Schools, Accra.
16. Mensah, I.T. (1990) Understanding Music. Books 1-3. Otuamic Publications.
17. Nketia J. H. K. (1973). African Music in Ghana, Folksongs of Ghana. University Press, Accra Ghana
18. Osunniyi, J.A. (1994). An Easy Way to Learning, Lagos: Music. Jac-Ola Printing Press, Nigeria.
19. Robert Manford et al (1990). Music for Senior Secondary Schools. H. Gangaram Bombay
- Music
20. Vidal, A.O. (2012). Selected Topics on Nigerian Music. Ile-Ife: Imef African Music Publishers,
- Nigeria.
Recommended next steps
All subjects · Subject combination checker · JAMB information · CBT practice
Frequently asked questions
How many questions does JAMB set in Music?
JAMB sets 40 multiple-choice questions in Music, each carrying equal marks for a total of 100 marks. Only Use of English has more (60 questions); every other subject follows this 40-question pattern, and your four subjects together make 180 questions and 400 marks.
How long is the exam and how much time per question?
The whole UTME lasts two hours (120 minutes) for all four subjects combined — about 40 seconds per question on average. Pace yourself: answer the questions you know quickly, flag the hard ones, and come back to them.
Is Music compulsory in JAMB?
Use of English is the only universally compulsory subject. Music is accepted for Music and several arts and education courses.
How is the JAMB Music syllabus structured?
The Music syllabus covers the rudiments and theory of music, Nigerian and African music, Western and world music, and general musicianship.
What should I focus on most in Music?
Master the rudiments and theory (notation, scales, intervals, chords) and know Nigerian, African and Western music traditions.
Does JAMB repeat past questions in Music?
JAMB does not announce a policy of repeating questions, but the syllabus changes little from year to year, so the same topics and question styles recur. Studying strictly by the syllabus and practising many questions per topic is the dependable approach — never rely on 'expo', which is a scam.
Is there negative marking in JAMB Music?
No. JAMB does not use negative marking, so a wrong answer scores zero with no penalty. Always attempt every question, even if you have to make an educated guess.
What textbooks are recommended for JAMB Music?
Use a standard SSS Music textbook covering theory and music history, and practise reading and writing notation.
Where can I find the official Music syllabus?
The official source is the JAMB e-syllabus on the IBASS portal (jamb.gov.ng). The full topics are reproduced on this page for easy study, but always confirm the current syllabus on the official portal before your exam.
How can I prepare for Music on Belmadeng?
Study the full syllabus on this page, turn each topic into a checklist, and track your progress from Not started to Mastered. Belmadeng is adding more practice questions across subjects — explore CBT practice and the Study Centre as they grow.
Source: official JAMB UTME Music syllabus (IBASS, jamb.gov.ng). Reproduced for study use. Last checked: 17 Sept 2026. Belmadeng is not affiliated with JAMB — always confirm the current syllabus on the official portal.