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JAMB Music syllabus for 2019/2020 is Out | Download PDF

This is to inform you that Jamb music syllabus 2021 is out. The aim of the syllabus is to prepare people who are going to partake in the 2021 Jamb Cbt Exam.

jamb music syllabus

 

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JAMB MUSIC Syllabus 2021

If you’ve happened to have searched for some Jamb music related questions like what is the official music syllabus from jamb? what does jamb ask music students in jamb? what is the official jamb syllabus for music? what is the recommended music textbooks to read for jamb? what textbook should I read for jamb music? worry no more, we’ve got you covered.

Official jamb music syllabus (COMPARATIVE MUSIC STUDIES)

1. AN OVERVIEWS OF THE FOLLOWING BLACK MUSICIANS (COMPOSERS, PERFORMERS, ETC) IN THE DIASPORA

Objectives

Candidates should be able to:

i. identify the musicians in the diaspora.

ii. assess their musical influence on the global society.

Content

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 etc.

2. MUSICAL GENRES

Objectives

Candidates should be able to:

i. identify the various forms of musical genres.

ii. trace the origins of the musical genres.

Content

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

Objectives

Candidates should be able to:

i. identify some of the features and materials used by nationalist composers to create, project and sustain cultural and patriotic awareness.

ii. assess their roles in Nigerian nationalism.

Content is not available

Official jamb music syllabus (ELEMENTARY HARMONY)

1. BASIC CHORD PROGRESSIONS IN FOUR PART VOCAL STYLE (SATB) IN MAJOR KEYS NOT EXCEEDING TWO SHARPS AND TWO FLATS

Objectives

Candidates should be able to:

i. determine the basic chord progressions in a music passage.

ii. Recognize the dominant 7th chord.

Content

(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.

2. CADENCES IN MAJOR KEYS NOT EXCEEDING TWO SHARPS AND TWO FLATS

Objectives

Candidates should be able to:

i. identify the various types of cadences in a musical score.

Content

(a) Perfect / full close cadence.

(b) Imperfect / half close / semi cadence.

(c) Plagal / Amen cadence.

(d) Interrupted / deceptive / evaded / surprise cadence.

 

3. ELEMENTARY COMPOSITION

Objectives

Candidates should be able to:

i. identify suitable melody to given words, compatible and balanced (parallel or contrasting) phrases.

Content

(a) Setting of words to written melody.

(b) Recognition of suitable answers to given musical phrases.

 

4. KINDS OF MOTIONS

Objectives

Candidates should be able to:

i. identify the various kinds of motion in a musical passage.

Content

Parallel, similar, contrary and oblique.

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5. MODULATION

Objectives

Candidates should be able to:

i. determine the key of a given melody and its modulation.

Content

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).

6. NON-HARMONIC TONES/NON-CHORD TONES

Objectives

Candidates should be able to:

i. relate harmonic or non-harmonic tones to the chords with which they are associated.

Content

Identification and application of the following:

(a) Neighbouring tones/auxiliary notes.

(b) Passing tones/notes.

7. TRIADS AND THEIR INVERSIONS IN MAJOR/MINOR KEYS, NOT EXCEEDING TWO SHARPS AND TWO FLATS

Objectives

Candidates should be able to:

i. identify triads.

ii. compare types of triads.

iii. determine the use of triads.

Content

(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

NOTE C:

(i) In any harmonic minor, minor triads are I and iv.

(ii) Major triads are V and VI.

(iii) Diminished triads are iio and viio.

(vi) The augmented triad is III+.

NOTE D:

(i) Primary triads are I, IV and V in major scales but I, iv and V in harmonic minor scales.

Official jamb music syllabus (HISTORY AND LITERATURE OF AFRICAN MUSIC)

1. EVOLUTION AND DEVELOPMENT OF AFRICAN POPULAR MUSIC

Objectives

Candidates should be able to:

i. differentiate one musical genre from another.

ii. examine their influence on society.

Content

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

2. GENERAL KNOWLEDGE OF THE FEATURES AND FORMS OF NIGERIA TRANDITIONAL MUSICS AND OTHER ART

Objectives

Candidates should be able to:

i. Analyse the features and forms of Nigerian traditional music and the arts.

ii. Differentiate between the various types of festivals and dances.

Content

(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,

(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

Objectives

Candidates should be able to:

i. differentiate between the various types and classes of musical instruments.

ii. classify them into their categories.

Content

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. KNOWLEDGE OF THE LIVE AND MUSIC OF THE FOLLOWING AFRICAN POPULAR MUSICIANS

Objectives

Candidates should be able to:

i. relate the musicians to the music they perform.

ii. trace their biographies.

iii. examine their type of music.

iv. assess their contributions to the development of music.

Content

A. NIGERIANS: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, Sunni 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 etc.Read Also Cowbellpedia Mathematics Competition Registration 2021/2022 Is Out

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, Sarkodie etc.

 

5. KNOWLEDGE OF THE LIVES AND MUSIC OF THE FOLLOWING AFRICAN ART MUSICIANS

Objectives

Candidates should be able to:

i. relate the musicians to the music they perform.

ii. trace their biographies.

iii. examine their type of music.

iv. assess their contributions to the development of music.

Content

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, 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, etc.

6. NIGERIAN FOLKSONGS, TYPES, FORMS AND CHARACTERISTICS

Objectives

Candidates should be able to:

i. identify various folksongs and their types.

ii. define and compare their forms and features.

Content

(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:

(i) 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.

Official jamb music syllabus (HISTORY AND LITERATURE OF WESTERN MUSIC)

 

1. COMPOSERS

Objectives

Candidates should be able to:

i. identify the composers.

ii. assess their contributions.

Content

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. HISTORICAL DEVELOPMENT OF WESTERN MUSIC STYLES IN RESPECT OF THE PERIODS

Objectives

Candidates should be able to:i. Trace the stages of the development of western musical practice from the medieval to the end of the romantic period.Content

(a) Medieval/Middle Age – 800 – 1400.

(b) Renaissance period – 1400 – 1600.

(c) Baroque period – 1600 – 1750.

(d) Classical period – 1750 – 1820.

(e) Romantic period – 1820 – 19.

3. MUSIC FORMS AND MEDIA

Objectives

Candidates should be able to:

i. identify the general forms and various types of instruments in Western music.

ii. relate music to modern technology.

Content

(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.

(vi) Computer Music Technology: software (Finale, Sibelius, Cubase, Reason, Sound Forge Nero), tuning fork, pitch pipe etc.

Official jamb music syllabus (RUDIMENTS OF MUSIC)

1. A-KEY SIGNATURES AND SCALES

Objectives

Candidates should be able to:

i. ascertain names of the various degrees of the diatonic scales.

ii. identify simple scale passages with or without key signature.

Content

(a) Technical names of the various degrees of the scale.

(b) Diatonic major/minor (natural, harmonic and melodic).

(c) Chromatic scales.

(d) Determination of the key of a piece of music with or without key signature NOT exceeding two sharps and two flats.

2. DEFINITION OF SIMPLE MUSICAL TERMS, SIGNS AND ABBREVIATIONS

Objectives

Candidates should be able to:

i. interpret simple musical signs and terms.

Content is not available

3. INTERVALS

Objectives

Candidates should be able to:

i. determine different qualities of intervals (melodic and harmonic).

Content

a. 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.

b. Recognition of consonant and dissonant intervals.

4. KEYBOARD SETTING, ENHARMONIC EQUIVALENTS AND ACCIDENTAL

Objectives

Candidates should be able to:

i. identify the names of the white and black keys and their relationship, e.g. (C sharp = Db = Bx).

Content

(a) Keyboard setting and enharmonic equivalents.

(b) Accidentals.

5. MUSIC NOTES / RESTS AND THEIR CORRESPONDING VALUES

Objectives

Candidates should be able to:

i. Determine the relative duration of different notes and rests.

Content is not available

6. THE STAFF

Objectives

Candidates should be able to:

i. Identify all the components of the staff and their application.

Content

(a) The great staff.

(b) Ledger lines and spaces.

(c) Open score (vocal score).

(d) C clef, alto (viola clef) and tenor clef.

7. TIME/TIME SIGNATURE

Objectives

Candidates should be able to:

i. Interpret varied rhythmic patterns in monotone.

Content

(Simple and compound time signatures), the correct grouping of notes and barring of unbarred passages.

8. TRANSCRIPTION OF MUSIC FROM STAFF INTO TONIC SOLFA NOTATION AND VICE-VERSA

Objectives

Candidates should be able to:

i. read music in any given notation.

ii. rewrite a music passage on a given stave.

Content

(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.

Recommended music textbooks for jamb

Akpabot, S. E. (1986) Foundation of Nigerian Traditional Music, Ibadan: Spectrum.

Associated Board of the Royal School of Music (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, 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 University Press Limited.

Reed, H. O. (1954) Basic Music: A Basic Theory Text, New York:, 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


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