JAMB Music syllabus.

About this syllabus official

Summarised from the examining body's own published syllabus. 28 topics, verified 2026-10-24.

Current UTME syllabus as served by IBASS on 2026-10-24; JAMB does not print the applicable years in this document.

Structure (sections, topics, contents and objectives) summarised from JAMB's publicly published UTME syllabus, with citation and link. The document itself is not reproduced or redistributed.

Source: https://ibass.jamb.gov.ng/static/media/Music.6a7142057d840d45959d.pdf

Source: https://ibass.jamb.gov.ng/e-syllabus

General objectives

• appreciate and discuss the foundations of music fairly and critically
• identify the features of the music of different periods through written/aural analysis
• investigate Western and African music theory, history, peoples, forms and medium of performance (including instrumentation)
• recognise the influence of socio-cultural and technological factors (including computer software application) on the lives and music of musicians
• acquire a sound musical basis for further learning at the tertiary level

Topics

1. The staff (SS 1-3)

• great staff
• ledger lines and spaces
• open score (vocal score)
• G clef (treble), C clef (alto, tenor etc.), F clef (bass)

You should be able to:

• identify all the components of the staff and their uses

2. Music notes/rests and their corresponding values (SS 1-3)

• notes and rests and their values

You should be able to:

• determine the relative duration of different notes and rests and their applications

3. Time-signature (SS 1-3)

• simple and compound time-signatures
• correct grouping of notes
• barring of unbarred passages

You should be able to:

• interpret varied rhythmic patterns
• group and bar unbarred passages correctly

4. Key-signatures and scales (SS 1-3)

• technical names of the various degrees of the scale
• diatonic major/minor (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

You should be able to:

• ascertain names of the various degrees of the diatonic scales and keys
• identify simple scale passages with or without key-signature
• differentiate between diatonic and chromatic scales

5. Keyboard setting, enharmonic equivalents and accidentals (SS 1-3)

• keyboard setting and enharmonic equivalents
• accidentals

You should be able to:

• identify the names of the white and black keys and their relationship, e.g. C sharp = D flat = B double-sharp
• state the function of the accidentals

6. Intervals (SS 1-3)

• recognition of diatonic/chromatic intervals and their inversions: perfect unison, 4th, 5th, 8ve; major/minor 2nd, 3rd, 6th and 7th; diminished 5th and augmented 4th

You should be able to:

• determine different qualities of intervals (melodic and harmonic) and their inversion

7. Simple musical terms, signs and abbreviations (SS 1-3)

• definition of simple musical terms, signs and abbreviations

You should be able to:

• interpret simple musical terms, signs and abbreviations

8. Transcription and transposition (SS 1-3)

• transcription of music from staff into tonic solfa notation and vice-versa
• transposition using the treble (G) and bass (F) staves not exceeding two sharps and two flats

You should be able to:

• read music in any given notation both in staff and solfa notations
• rewrite a music passage on a given stave
• transcribe from staff notation to solfa notation

9. Triads and their inversions (SS 1-3)

• triads and inversions in major/minor keys not exceeding two sharps and two flats
• primary triads in major keys
• secondary triads in major keys
• chord indications: major I (capitals), minor ii (small), diminished vii° (small with 'o'), augmented III+ (capitals with '+')
• major scale: major triads I, IV, V; minor ii, iii, vi; diminished vii°
• harmonic minor: minor i, iv; major V, VI; diminished ii°, vii°; augmented III+
• primary triads: I, IV, V in major; i, iv, V in harmonic minor

You should be able to:

• identify triads and their inversions in both major and minor
• compare types of triads
• determine the use of triads

10. Basic chord progressions and the dominant 7th (SS 1-3)

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

You should be able to:

• determine the basic chord progressions in a music passage
• recognize the dominant 7th chord

11. Kinds of motion (SS 1-3)

• parallel, similar, contrary and oblique

You should be able to:

• identify the various kinds of motion in a musical passage
• differentiate between the various motions

12. Cadences (SS 1-3)

• cadences in major keys not exceeding two sharps and two flats
• perfect/full close
• imperfect/half close/semi cadence
• plagal/Amen cadence
• interrupted/deceptive/evaded/surprise cadence

You should be able to:

• identify the various types of cadences in a musical score
• analyse the various types of cadences and their resolutions

13. Non-harmonic tones / non-chord tones (SS 1-3)

• neighbouring tones/auxiliary notes
• passing tones/notes

You should be able to:

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

14. Modulation (SS 1-3)

• simple diatonic modulations (single melodic line) from a major key not exceeding two sharps and two flats to its closely related keys (dominant and subdominant)

You should be able to:

• determine the key of a given melody and its modulation

15. Elementary composition (SS 1-3)

• setting of words to written melody
• recognition of suitable answers to given musical phrases
• two-part free counterpoint

You should be able to:

• identify suitable melody to given words, and compatible, balanced or contrasting phrases
• identify the basic rules of two-part writing (counterpoint)

16. Nigerian folksongs: types, forms and characteristics (SS 1-3)

• types: cradle, folk-tales, games, war, satirical, dirges/funeral, historical, praise and worksong etc.
• forms: call and response, strophic, through-composed, antiphony etc.
• vocal styles: recitative, yodeling, ululation, incantation, heaving, whistling, nasalisation etc.
• scales/modes: tritonic, tetratonic, pentatonic, hexatonic etc.
• metre/rhythm: metric and non-metric, polymetric, cross-rhythm, syncopation, hemiola, poly-rhythm etc.

You should be able to:

• identify various folksongs and their types
• define and compare their forms and features
• mention some characteristic features of vocal, scale and rhythmic styles in African music

17. Features and forms of Nigerian traditional music and other arts (SS 1-3)

• festivals, e.g. Osun, Ifa, Ogun, Ekpo, Ofala, Iri ji (New Yam), Ovia Osese, Mmanwu (Masquerade), Ila-Oso, Argungu (Fishing), Eyo/Adamu Orisa, Gelede etc.
• 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.

You should be able to:

• analyse the features and forms of Nigerian traditional music and the arts
• differentiate between the various types of festivals, dances and their origin
• identify the relationship between music, dance and drama in African festivals

18. Nigerian traditional musical instruments (SS 1-3)

• aerophones, e.g. kakaki, algaita, sarewa, pedete, obati, farai, kaho, imar, mongom, taluk, damalgo; oja, opi, pipilo, udu, nnuk, ofiom, akpele; ekutu, teremagbe, ayeta-ode, odikakora etc.
• chordophones, e.g. goge, kukuma, komo, kwamsa, kuntigi, lasha, molo, garaya, gurmi; une, ubo-akwara; goje, molo etc.
• idiophones, e.g. kundung, karawa, shantu; oyo, ichaka, ogene, aja, ekpili, ekwe, udu, ikoro, ngedegwu, okpokoro, ekere, mgbiligba, alo, ubo-aka; sekere, agogo, agidigbo, alọ, oma, aro, ukuse, eromwon etc.
• membranophones, e.g. ganga, tambari, taushi, banga, balle, kuntuku, kalangu, gangan-noma, tandu; igba, nsing, ban yogume, emoba; ipese, igbin, bata, bembe, gudugudu, kanango, dundun, gangan etc.

You should be able to:

• identify the characteristic features of the classes of musical instruments
• classify them into their categories
• trace their origin

19. Lives and music of African traditional musicians (SS 1-3)

• Nigerians: 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.
• Nigerians: Ezigbo Obiligbo, Seven-Seven, Morocco Maduka, Okechukwu Nwatu, Mike Ejeagha, Afam Ogbuotobo etc.
• Nigerians: Kokoro (the blind minstrel), Anikura, Tunde Alao, Olanrewaju Adepoju, Ademola Onibonokuta, Elemure Ogunyemi, Comfort Omoge etc.
• other Africans: Vinoko Akpalu, Daniel Amponsah (alias Koo Nimo), Efua Basa, Kwaa Mensah etc.

You should be able to:

• identify different groups to which various musicians belong
• trace their biographies
• mention their musical styles
• assess their contributions to the music industry

20. Evolution and development of African popular music (SS 1-3)

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

You should be able to:

• differentiate one musical genre from another
• examine their influence on society

21. Lives and music of African popular musicians (SS 1-3)

• 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
• Nigerians: 2Face, Rude Boy (Paul Okoye), Mr. P (Peter Okoye), 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 etc.
• 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.

You should be able to:

• relate the musicians to the music they perform
• trace their biographies
• examine their type of music
• assess their contributions to the development of music

22. Lives and music of African art musicians (SS 1-3)

• 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.
• 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.

You should be able to:

• relate the art composers to their compositions
• trace their biographies
• examine their type of compositions
• assess their contributions to the development of art music education in Nigeria

23. Historical development of Western music styles (SS 1-3)

• Medieval/Middle Age (800-1400)
• Renaissance (1400-1600)
• Baroque (1600-1750)
• Classical (1750-1820)
• Romantic (1820-1900)
• 20th century (1900-1999)

You should be able to:

• identify the various periods with dates from Medieval to the 20th century
• trace the stages of the development of Western musical practice from the Medieval period to the end of the 20th century

24. Western composers (SS 1-3)

• 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.

You should be able to:

• identify the composers
• assess their contributions

25. Music forms and media (SS 1-3)

• binary, ternary, rondo, sonata allegro, dance suite, canon, free fantasia, theme and variation etc.
• orchestral and band instruments and classifications
• the human voice (types, ranges and qualities)
• keyboard instruments: organ, piano, electronic keyboard etc.
• ukulele, banjo, guitar, mandolin, harp, accordion, xylophone, marimba etc.
• computer music technology: software (Finale, Sibelius, Cubase, Reason, Sound Forge, Nero), tuning fork, pitch pipe etc.
• introduction to Artificial Intelligence (AI) in music technology: meaning, evolutionary trend/historical background, types, AI tools in music composition, AI-powered music generators etc.

You should be able to:

• identify the general forms and various types of instruments in Western music
• relate music to modern technology
• assess the contributions of AI

26. Black musicians in the diaspora (SS 1-3)

• overview of 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.

You should be able to:

• identify the musicians in the diaspora by their names and works
• assess their individual musical influences on the global society

27. Forms of black music in the diaspora (SS 1-3)

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

You should be able to:

• identify the various forms of musical genres
• trace the origins of the musical genres

28. The spirit of nationalism in Nigerian music (SS 1-3)

• One Love – Onyeka Onwenu
• Which Way Nigeria? – Sonny Okosun
• First National Anthem (Nigeria We Hail Thee) – 'Frances Brenda' as printed (1960-1978)
• Second National Anthem (Arise O Compatriots) – Ben Odiase (1978-2025)
• Current National Anthem (Nigeria We Hail Thee) – 'Frances Brenda' as printed (2025 till date)
• Nigeria for All – Sunny Ade
• Nigeria Go Survive – Veno Marioghae etc.

You should be able to:

• identify the nationalistic composers by their names and work
• identify 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