JAMB Music Syllabus

1. The staff

Contents

• 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)

Objectives — candidates should be able to:

1. Identify all the components of the staff and their uses

2. Music Notes/Rests and their corresponding values.

Contents

• 2. Music Notes/Rests and their corresponding values

Objectives — candidates should be able to:

1. Determine the relative duration of different notes and rests and their applications

3. Time-signature

Contents

• 3. Time-signature (simple and compound time-signatures), the correct grouping of notes and barring of unbarred passages

Objectives — candidates should be able to:

1. Interpret varied rhythmic patterns; and
2. Group and bar unbarred passage correctly

4. A . Key-signatures and scales

Contents

• 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 Cand
• (b) Accidentals i Cand

Objectives — candidates should be able to:

1. Ascertain names of the various degrees of the diatonic scales and keys
2. Identify simple scale passages with or without key-signature; and
3. Differentiate between diatonic and chromatic scales idates should be able to
4. Identify the names of the white and black keys and their relationship, e.g. C sharp = = Bx; and
5. State function of the accidentals. idates should be able to determine different

5. Intervals

Contents

• 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

Objectives — candidates should be able to:

1. Qualities of intervals (melodic and harmonic) and their inversion

6. Definition of simple musical terms, signs and

Contents

• 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

Objectives — candidates should be able to:

1. Interpret simple musical terms signs and abbreviations
2. Read music in any given notation both in staff and solfa notations
3. Rewrite a music passage on a given stave; and
4. Transcribe from staff notation to solfa notation

7. Triads and their inversions in major/minor keys,

Contents

• 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
• (ii) minor triads are indicated with small Roman numerals e.g
• (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) diminished triad is viio NOTE C
• (i) In any harmonic minor, minor triads are
• (ii) major triads are V and VI
• (iii) diminished triads are iio and viio
• (vi) augmented triad 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 parts vocal style (SATB) in major keys NOT exceeding two sharps and two flats
• (b) Dominant 7th chord in root position only

Objectives — candidates should be able to:

1. Identify triads and their inversions in both major and minor
2. Compare types of triads; and
3. Determine the use of triads
4. Determine the basic chord progressions in a music passage; and
5. Recognize the dominant 7th chord

8. Kinds of motion;

Contents

• 3. Kinds of motion
• Parallel, Similar, Contrary and Oblique

Objectives — candidates should be able to:

1. Identify the various kinds of motion in a musical passage
2. Differentiate between the various motions

9. Cadences in major keys NOT exceeding two sharps

Contents

• 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

Objectives — candidates should be able to:

1. Identify the various types of cadences in a musical score; and
2. Analyse the various the types of cadences and their resolutions

10. Non-harmonic tones / Non-chord tones;

Contents

• 5. Non-harmonic tones / Non-chord tones
• identification and application of the following
• (a) neighbouring tones / auxiliary notes; and
• (b) passing tones / notes

Objectives — candidates should be able to:

1. Relate harmonic or non-harmonic tones to the chords with which they are associated

11. Modulation

Contents

• 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)

Objectives — candidates should be able to:

1. Given melody and its modulation

12. Elementary Composition

Contents

• 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

Objectives — candidates should be able to:

1. Identify suitable melody to given words, compatible, balanced or contrasting phrases
2. Identify the basic rules of two-part writing (counterpoint)

13. Nigerian folksongs, types, forms and characteristics.

Contents

• 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

Objectives — candidates should be able to:

1. Identify various folksongs and their types
2. Define and compare their forms and features
3. Mention some characteristic features of vocal, scale and rhythmic styles in African music

14. General knowledge of the features and forms of

Contents

• 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

Objectives — candidates should be able to:

1. Analyse the features and forms of Nigerian traditional music and the arts
2. Differentiate between the various types of festivals, dances, their origin; and
3. Identify the relationship between music, dance and drama in African festivals

15. INSTRUMENTS

Contents

• 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
• (c) Idiophones
• (i) kundung, karawa, shantu, etc
• (ii) oyo, ichaka, ogene, aja, ekpili, ekwe, udu, ikoro, ngedegwu, okpokoro, ekere, mgbiligba, alo, ubo-aka, etc
• (iii) sekere, agogo, agidigbo, alọ, 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, gangan, etc

Objectives — candidates should be able to:

1. Identify the characteristic features of the classes of the musical instruments
2. Classify them into their categories; and
3. Trace their origin

16. Knowledge of the lives and music of the

Contents

• 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

Objectives — candidates should be able to:

1. Identify different groups to which various musicians belong
2. Trace their biographies
3. Mention their musical styles; and
4. Assess their contributions to the music industry

17. Evolution and Development of African Popular

Contents

• 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

Objectives — candidates should be able to:

1. Differentiate one musical genre from another; and
2. Examine their influence on society

18. Knowledge of the lives and music of the following

Contents

• 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, Victor Uwaifo, Sonny Okosun, Fela Anikulapo
• B. OTHER AFRICANS: Manu Dibango, E. T. Mensah, Jerry Hansen, Kofi Olomide, Awilo Logomba, Papa Wemba, Salif Kaita, Angelina Kidjo, Lucky Dube, Yvonne Chakachaka, Brenda Fasie, Sarkodie etc

Objectives — candidates should be able to:

1. Relate the musicians to the music they perform
2. Trace their biographies
3. Examine their type of music; and
4. Assess their contributions to the development of music

19. MUSIC FORMS AND MEDIA

Contents

• 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

Objectives — candidates should be able to:

1. Identify the general forms and various types of instruments in Western music
2. Relate Music to modern technology
3. Assess the contributions of AI

20. An overview of the following black musicians (composers,

Contents

• 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

Objectives — candidates should be able to:

1. Identify the musicians in the diaspora by their names and works
2. Assess their individual musical influences on the global society

21. Forms to be examined include African-America

Contents

• 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

Objectives — candidates should be able to:

1. Identify the various forms of musical genres
2. Trace the origins of the musical genres

22. The spirit of nationalism in Nigerian music.

Contents

• 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) Second National Anthem (Arise Oh Compatriots) - Ben Odiase (1978-2025) Current National Anthem (Nigeria We Hail Thee) – Frances Brenda (2025 till date) Nigeria for All – Sunny Ade Nigeria Go Survive – Veno Marioghae, etc

Objectives — candidates should be able to:

1. Identify the nationalistic composers by their names and work
2. Identify some of the features and materials used by nationalist composers to create, project and sustain cultural and patriotic awareness; and
3. Assess their roles in Nigerian nationalism

23. Adesipe, A.E. (2025). Essential Music for Senior Secondary Schools with Introduction to Artificial

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Objectives — candidates should be able to:

24. Adesipe, A.E. (2025). Artificial Intelligence in African Music and Instrumental Technology,

Contents

Objectives — candidates should be able to:

25. Adesipe, A.E. (2024). History of Nigerian Folksongs, ADLEK Printing Press, Ilorin Kwara State,

Contents

Objectives — candidates should be able to:

26. Adesipe, A.E. (2024). Nigerian Festivals and Traditional Instruments, Amazon Kindle Direct

Contents

Objectives — candidates should be able to:

27. Adesipe, A.E. (2025). African Music and Instrumental Technology, Amazon Kindle Direct

Contents

Objectives — candidates should be able to:

28. Akpabot, S.E. (1986). Foundation of Traditional Music. Ibadan Spectrum Books, Nigeria.

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Objectives — candidates should be able to:

29. Agu, C.C. (1999). Forms and Analysis of African Music. Enugu: New Generation Books, Nigeria.

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Objectives — candidates should be able to:

30. Echezona, W. W. C. (1981). Nigerian Musical Instruments, Enugu: Apollo Publishing Ltd. Nigeria.

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Objectives — candidates should be able to:

31. Ekwueme, Lucy. U. (2007). Songs for Happy Little People, Lagos: West African Book Publisher

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Objectives — candidates should be able to:

32. Hosier, (1961). Instruments of the Orchestra Oxford: Oxford University Press.

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Objectives — candidates should be able to:

1. Hosier, (1961). Instruments of the Orchestra

33. Kamien Roger (2008). Music An Appreciation. New York McGraw Hill Book Company.

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Objectives — candidates should be able to:

1. Kamien Roger (2008). Music An Appreciation. New York McGraw Hill Book Company

34. Kennedy, M. (1985). The Concise Oxford Dictionary of Music, (Third Edition), London: Oxford

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Objectives — candidates should be able to:

35. Kitson, C. H. (1978). Elementary Harmony Book 2, London: Oxford University Press.

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Objectives — candidates should be able to:

36. Kofoworola, Z. O. And Lateef, Y. (1987). Hausa performing Arts and Music, Lagos: Nigeria

Contents

Objectives — candidates should be able to:

37. Mensah, A. A. (Undated) Folksongs for Schools, Accra.

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Objectives — candidates should be able to:

38. Mensah, I.T. (1990) Understanding Music. Books 1-3. Otuamic Publications.

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Objectives — candidates should be able to:

39. Nketia J. H. K. (1973). African Music in Ghana, Folksongs of Ghana. University Press, Accra Ghana

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Objectives — candidates should be able to:

40. Osunniyi, J.A. (1994). An Easy Way to Learning, Lagos: Music. Jac-Ola Printing Press, Nigeria.

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Objectives — candidates should be able to:

41. Robert Manford et al (1990). Music for Senior Secondary Schools. H. Gangaram Bombay

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Objectives — candidates should be able to:

1. Robert Manford et al (1990). Music for Senior Secondary Schools. H. Gangaram Bombay

42. Vidal, A.O. (2012). Selected Topics on Nigerian Music. Ile-Ife: Imef African Music Publishers,

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Objectives — candidates should be able to: