JAMB Music Syllabus

General Objectives

The Music syllabus is designed to enable candidates to:

• Appreciate and discuss music fairly and critically.
• Identify, through written and oral/aural analysis, the features of the music of the different periods of Western and African music history, its peoples, its forms and the media.
• Appreciate the influence of socio-cultural and technological factors on the lives and music of musicians.
• Attain a sound musical basis for further learning at the tertiary level.

Detailed Music Syllabus

28 topics. For each topic: what to study (contents) and the objectives you should be able to meet.

1. The Staff

   Contents

   • Great staff
   • Ledger lines and spaces
   • Open score (vocal score)
   • C clef: alto (viola) clef and tenor clef

   Objectives — candidates should be able to:

   • Identify all the components of the staff and their application

2. Music Notes/Rests and Their Values

   Contents

   • Music notes and rests and their corresponding values

   Objectives — candidates should be able to:

   • Determine the relative duration of different notes and rests

3. Time/Time Signature

   Contents

   • Simple and compound time signatures
   • Correct grouping of notes
   • Barring of unbarred passages

   Objectives — candidates should be able to:

   • Interpret varied rhythmic patterns

4. Key Signatures and Scales

   Contents

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

   Objectives — candidates should be able to:

   • Ascertain the names of the various degrees of the diatonic scale
   • Identify simple scale passages with or without key signature

5. Keyboard Setting

   Contents

   • Keyboard setting and enharmonic equivalents
   • Accidentals

   Objectives — candidates should be able to:

   • Identify the names of the white and black keys and their relationships (e.g. C sharp = D flat = B double sharp)

6. Intervals

   Contents

   • Recognition of diatonic and chromatic intervals and their inversions
   • Perfect unison, 4th, 5th and octave
   • Major and minor 2nd, 3rd, 6th and 7th
   • Diminished 5th and augmented 4th
   • Consonant and dissonant intervals

   Objectives — candidates should be able to:

   • Determine the different qualities of intervals, both melodic and harmonic

7. Musical Terms, Signs and Abbreviations

   Contents

   • Common musical terms, signs and abbreviations

   Objectives — candidates should be able to:

   • Interpret simple musical signs and terms

8. Transcription and Transposition

   Contents

   • Transcription of music from staff to tonic solfa notation and vice versa
   • Transposition using the treble (G) and bass (F) staves, not exceeding two sharps and two flats

   Objectives — candidates should be able to:

   • Read music in any given notation
   • Rewrite a music passage on a given stave

9. Triads and Inversions

   Contents

   • Primary and secondary triads in major and minor keys, not exceeding two sharps and two flats
   • Chord notations using the Roman numeral system
   • Major triads: I, IV, V in major keys; V and VI in the harmonic minor
   • Minor triads: ii, iii, vi in major keys; i and iv in the harmonic minor
   • Diminished and augmented triads

   Objectives — candidates should be able to:

   • Identify triads
   • Compare the different types of triads
   • Determine the usage of triads

10. Chord Progressions and the Dominant 7th

    Contents

    • Basic chord progressions in four-part vocal style (SATB) in major keys, not exceeding two sharps and two flats
    • The dominant 7th chord in root position

    Objectives — candidates should be able to:

    • Determine basic chord progressions in musical passages
    • Recognise the dominant 7th chord

11. Kinds of Motion

    Contents

    • Parallel motion
    • Similar motion
    • Contrary motion
    • Oblique motion

    Objectives — candidates should be able to:

    • Identify the various types of motion in musical passages

12. Cadences

    Contents

    • Perfect/full close
    • Imperfect/half close/semi cadence
    • Plagal/Amen cadence
    • Interrupted/deceptive/evaded/surprise cadence

    Objectives — candidates should be able to:

    • Identify the various types of cadence in musical scores

13. Non-Harmonic Tones

    Contents

    • Neighbouring tones / auxiliary notes
    • Passing tones / passing notes

    Objectives — candidates should be able to:

    • Relate harmonic or non-harmonic tones to their associated chords

14. Modulation

    Contents

    • Simple diatonic modulations in a single melodic line
    • Modulation from given major keys to closely related keys (dominant and subdominant)
    • Not exceeding two sharps and two flats

    Objectives — candidates should be able to:

    • Determine the key of a melody and its modulation

15. Elementary Composition

    Contents

    • Setting words to a written melody
    • Recognition of suitable answers to given musical phrases

    Objectives — candidates should be able to:

    • Identify suitable melodies for given words, with compatible and balanced (parallel or contrasting) phrases

16. Nigerian Folksongs

    Contents

    • Types: cradle, folk-tale, game, war, satirical, dirge/funeral, historical, praise and work songs
    • Forms: call and response, strophic, through-composed
    • Vocal styles: recitative, yodeling, ululation, incantation, heaving, whistling
    • Scales/modes: tritonic, tetratonic, pentatonic, hexatonic
    • Metre and rhythm: metric and non-metric, polymetric, cross-rhythm, syncopation, hemiola, polyrhythm

    Objectives — candidates should be able to:

    • Identify various folksongs and their types
    • Define and compare the forms and features of folksongs

17. Nigerian Traditional Music and Arts

    Contents

    • Festivals: Osun, Ifa, Ogun, Ekpo, Ofala, Iri-ji, Ovia Osese, Mmanwu, Ila-Oso, Argungu, Eyo/Adamu-Orisa, Gelede
    • Dances and arts: Masquerade, Koroso, Atilogwu, Ikperikpe, Egedeege, Kwaghir, Agbon, Nkwa Umuagbogho, Bata, Bori, Swange, Dundun, Kokoma, Abigbo, Okonko

    Objectives — candidates should be able to:

    • Analyse the features and forms of Nigerian traditional music and arts
    • Differentiate between festival and dance types

18. Nigerian Traditional Musical Instruments

    Contents

    • Aerophones (wind instruments)
    • Chordophones (stringed instruments)
    • Idiophones (struck/percussion instruments)
    • Membranophones (drums)

    Objectives — candidates should be able to:

    • Differentiate between the various types and classes of instrument
    • Classify instruments into their categories

19. African Traditional Musicians

    Contents

    • Nigerian musicians: 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, Ezigbo Obiligbo, Seven-Seven, Morocco Maduka, Okechukwu Nwatu, Mike Ejeagha, Afam Ogbuotobo, Kokoro (blind minstrel), Anikura, Tunde Alao, Olanrewaju Adepoju, Ademola Onibon-okuta, Elemure Ogunyemi, Comfort Omoge
    • Other African musicians: Vinoko Akpalu, Daniel Amponsah (Koo Nimo), Efua Basa, Kwaa Mensah

    Objectives — candidates should be able to:

    • Identify the groups and classifications of musicians
    • Trace their biographies
    • Analyse their musical styles
    • Assess their contributions to the music industry

20. Evolution and Development of African Popular Music

    Contents

    • Highlife, Afro-beat, Fuji, Apala, Reggae, Makossa, Ikwokirikwo, Okukuseku, Ekassa, Akuko na egwu, Awurebe, Waka, Hiplife, Hip-hop, Juju

    Objectives — candidates should be able to:

    • Trace the evolution and development of African popular music genres

21. African Popular Musicians

    Contents

    • Nigerian musicians: 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, Sunny 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
    • Other African musicians: Manu Dibango, E.T. Mensah, Jerry Hansen, Koffi Olomide, Awilo Longomba, Papa Wemba, Salif Keita, Angelique Kidjo, Lucky Dube, Yvonne Chaka Chaka, Brenda Fassie, Sarkodie

    Objectives — candidates should be able to:

    • Relate musicians to their music
    • Trace their biographies
    • Examine the types of music they perform
    • Assess their contributions to the development of music

22. African Art Musicians

    Contents

    • Nigerian musicians: 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
    • Other African musicians: Joseph S. Maison, N.Z. Nayo, J.H. Kwabena Nketia, Gyimah Labi, Philip Gbeho, Ephraim Amu, C.K. Adom, A.A. Mensah, C.W.K. Mereku

    Objectives — candidates should be able to:

    • Relate musicians to their music
    • Trace their biographies
    • Examine the types of music they compose
    • Assess their contributions to the development of music

23. Historical Development of Western Music Styles

    Contents

    • Medieval / Middle Ages (800-1400)
    • Renaissance period (1400-1600)
    • Baroque period (1600-1750)
    • Classical period (1750-1820)
    • Romantic period (1820-1900)

    Objectives — candidates should be able to:

    • Trace the development stages of Western musical practice from the medieval through to the romantic periods

24. Western Composers

    Contents

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

    Objectives — candidates should be able to:

    • Identify the composers
    • Assess their contributions to music

25. Music Forms and Media

    Contents

    • Forms: binary, ternary, rondo, sonata allegro, dance suite, canon, free fantasia, theme and variation
    • Orchestral and band instruments and their classifications
    • Human voice: types, ranges and qualities
    • Keyboard instruments: organ, piano, electronic keyboard
    • Other instruments: ukulele, banjo, guitar, mandolin, harp, accordion, xylophone, marimba
    • Computer music technology: software (Finale, Sibelius, Cubase, Reason, Sound Forge, Nero), tuning fork, pitch pipe

    Objectives — candidates should be able to:

    • Identify the general forms and instrument types in Western music
    • Relate music to modern technology

26. Black Musicians in the Diaspora

    Contents

    • Mighty Sparrow, James Brown, Bob Marley, Michael Jackson, Stevie Wonder, Lionel Richie, R. Kelly, Lauryn 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 Dogg, Mary J. Blige, Jay-Z, Chris Brown, Bruno Mars, Ne-Yo, Rihanna

    Objectives — candidates should be able to:

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

27. Musical Forms and Genres

    Contents

    • Negro spiritual, gospel music, jazz, rhythm and blues, soul, calypso, rock 'n' roll, reggae, afro-beat, tango, rap, chachacha, bolero, twist, hip-hop

    Objectives — candidates should be able to:

    • Identify the various musical genres
    • Trace the origins of the genres

28. Nigerian Nationalism in Music

    Contents

    • Features and materials used by nationalist composers to create, project and sustain cultural and patriotic awareness

    Objectives — candidates should be able to:

    • Identify the features and materials used by nationalist composers to project cultural and patriotic awareness
    • Assess the role of music in Nigerian nationalism

Recommended Texts

• Akpabot, S. E. (1986). Foundation of Nigerian Traditional Music. Ibadan: Spectrum.
• Associated Board of the Royal Schools of Music (1958). Rudiments and Theory of Music. London: ABRSM.
• 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, J. (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. London: 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. Lagos: Nigeria Magazine.
• Lovelock, W. (1953). A Concise History of Music. London: Bell and Hyman.
• Lovelock, W. (1996). The Rudiments of Music. London: G. Bell and Sons Limited.
• 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 Universities Press Limited.
• Reed, H. O. (1954). Basic Music: A Basic Theory Text. New York: Mills Music Inc.
• Taylor, E. (1989). The AB 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.

Frequently Asked Questions

How is the JAMB Music syllabus organised?

It is divided into five sections: (A) Rudiments of Music, (B) Elementary Harmony, (C) History and Literature of African Music, (D) History and Literature of Western Music, and (E) Comparative Music Studies. Each topic lists contents to study and objectives stating what candidates should be able to do.

How many topics does the JAMB Music syllabus cover?

It spans roughly 28 topics across the five sections, ranging from notation theory (the staff, scales, intervals, harmony, cadences, modulation) to African and Western music history, traditional instruments, named musicians, and comparative studies of global genres.

What music theory level is tested in JAMB Music?

The theory and harmony are kept at an elementary level. Most exercises in scales, key signatures, harmony (SATB four-part writing), modulation and transposition are limited to keys not exceeding two sharps and two flats.

Does the JAMB Music syllabus require knowledge of specific musicians?

Yes. Candidates are expected to recognise and trace the biographies and contributions of African traditional musicians, African popular and art musicians (e.g. Fela Kuti, King Sunny Ade, Akin Euba, Ayo Bankole), Western composers (Bach, Mozart, Beethoven, Chopin) and Black diaspora musicians.

What aspects of Nigerian traditional music are examined?

Candidates study Nigerian folksong types and forms (call-and-response, strophic, through-composed), traditional festivals and dances (such as Osun, Argungu, Bata, Atilogwu), and the four classes of traditional instruments: aerophones, chordophones, idiophones and membranophones.

Is music technology part of the JAMB Music syllabus?

Yes. Under Music Forms and Media, candidates are expected to relate music to modern technology, including notation and recording software such as Finale, Sibelius, Cubase, Reason, Sound Forge and Nero, as well as tools like the tuning fork and pitch pipe.

What are the aims of the JAMB Music syllabus?

The syllabus aims to enable candidates to appreciate and discuss music critically, identify features of Western and African music across historical periods, appreciate socio-cultural and technological influences on musicians, and build a sound musical foundation for tertiary-level study.

How should I prepare for the History and Literature sections?

Focus on the chronological Western periods (Medieval, Renaissance, Baroque, Classical, Romantic) and their representative composers and forms, alongside African music evolution and named Nigerian and African musicians. Use the recommended texts such as Akpabot, Nketia and the ABRSM theory books to cross-reference facts.