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JAMB 2020/2021 Music Syllabus | Download or View the PDF here

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JAMB 2020/2021 Music Syllabus | Download or View the PDF here by : 7:00 am On September 1, 2019

This is to inform all JAMB candidates offering Music that the new Syllabus for 2020/2021 Jamb exam is out. Candidates can download or view the pdf format here.

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The Unified Tertiary Matriculation Examination syllabus for Music is designed to prepare the candidates for the Board’s examination.

The following are what the students are expected to achieve through this syllabus:
1.appreciate and discuss music fairly and critically;
2.identify, through written analysis, the features of the music of the different periods of Western and African music history, peoples, its forms and the media;
3.appreciate the influence of socio-cultural factors on the lives and music of musicians.

DETAILED SYLLABUS [JAMB 2020/2021 MUSIC SYLLABUS]

SECTION A: RUDIMENTS OF MUSIC [JAMB 2020/2021 MUSIC SYLLABUS]

TOPICS/CONTENTS/NOTES  [JAMB 2020/2021 MUSIC SYLLABUS]

1. The staff
(a) The great stall
(b) Ledger lines and space
(c) Open score (vocal score)
(d) C clef, alto (viola clef) and tenor clef.

OBJECTIVES [JAMB 2019/2020 MUSIC SYLLABUS] Candidates should be able to:

i. identify all the components of the staff and the application.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

2. Music
Notes/Rests and their corresponding value

OBJECTIVES
Candidates should be able to:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

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

OBJECTIVES
Candidates should be able to:

i. interpret varies rhythmic patterns in monotone

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

4.A – Key signatures and scales:
(i) Diatonic major/minor (natural  Harmonic and melodic)
(ii) Names of the various degrees of the scale B – 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:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

5.(a) Keyboard setting and Enharmonic  equivalents.
(b) Accidentals.

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).

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

6. Recognition of diatonic
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:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

7. Definition of simple musical terms, abbreviations and expressions.

OBJECTIVES
Candidates should be able to:

i. interpret simple musical terms.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

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.

OBJECTIVES
Candidates should be able to:

i. detect music in any given notation.

SECTION B: ELEMENTARY HARMONY

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

1. Triads and their inversions in majorkeys. 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. i
(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 111+

NOTE B:
(i)  In any major scale, major triads areI,rV andV
(ii)  minor triads are ii, iii and vi
(iii)  diminished triads is viio

NOTE C:
(i) in any harmoic minor, minor   triads are i and iv
(ii) major triads are V and VI
(ii) diminished triads are ii and viio
(iv) augmented triads is 111+

NOTE D:
Primary triads are I, IV and V in major scales but i, iv and V in harmonic minor scales.

OBJECTIVES
Candidates should be able to:

i.  identify triads;
ii. compare types of triads;
iii.determine the use of triads.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

2.(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

OBJECTIVES
Candidates should be able to:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

3.Kinds of motion; Parallel, similar, contrary and oblique

OBJECTIVES
Candidates should be able to:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]
4.Cadences in major keys NOT exceeding two sharps and two flats.
(a)perfect cadence
(b)imperfect cadence/semi adence/half close
(c)Plagal; cadence/Amen cadence
(d)interrupted cadence / deceptive cadence /evaded  cadence /surprise  cadence

OBJECTIVES
Candidates should be able to:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]
5.  Non-harmonic tones/non-chord tones; identification and application of the following:
(a) neighbouring tones/auxiliary notes
(b) passing tones/notes
(c) anticipation
(d) acciacaturc
(e) suspension escape
(g) tone

OBJECTIVES
Candidates should be able to:

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

6. MODULATION
Simple diatonic modulations (using a single melodic line only) from any given major key NOT exceeding two sharp and two flats to any of its closely related keys (dominant and subdominant).

OBJECTIVES
Candidates should be able to:

i. determine a given melody and its  modulation.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

7. Elementary Composition:
(a) Setting of words to  written melody:
(b) Recognition of suitable answers to  given musical phrases

OBJECTIVES
Candidates should be able to:

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

SECTION C: HISTORY AND LITERATURE OF AFRICAN MUSIC [JAMB 2020/2021 MUSIC SYLLABUS]

i. Nigerian folksongs, types, form and characteristic.
(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: vocal styles, recitative, yodeling, ululation, incantation, heaving,    whistling, etc.

(ii) Scales/modes: tritonic, tetratonic, pehtatohic, hexatonic etc.

(iii) Metre/Rhythm: Metric and non-metric,  polyrnetric, cross rhythm, syncopation, hernipla, polyrhythm, etc.

OBJECTIVES
Candidates should be able to:

i. identify various folksongs and their types;
ii. compare their forms and features

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

2. General knowledge of the features and forms of Nigeria  traditional music and dances.
(i) Festivals: e.g. Osun, Ifa, Ogun, Ekpo, Ofala, Iri-ji (New Yain Festival) Ovia,     Osese, Mmanwu (Masquerade), Ikv-Oso, Argungu(Fishing), EEyo/Adamu -r     Orisa, Gelede, etc.
(ii)Dances: social, ritual and ceremonial e.g. masquerade, koroso, etilogwu, ikperikpe(war dance), egedeege, kwaghir, agbon, nkwa ; imuaghogho, bata, bori, swange, dundun, kokoma, abigbo, okonko, etc

OBJECTIVES
Candidates should be able to:

i. analyse the features and; forms of Nigerian tradition music and dances
Candidates should be able to:
i. differentiate   between   the; various  types of festivals and dances;
ii. suggest ways to preserve them.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

3. INSTRUMENTS:
Nigerian tradition musical instruments:
CLASSIFICATIONS:
(a) Aerophones:
(i)  Kakaki, algaita, sarewa,  pedete, obati, farai, kaho, imar, mongoih, taluk,      damalgo.etc.
(ii) Oja, opi, pipilo, odu, nnuk, ugene, ofiom, akpele,etc.
(iii) ekutu, teremagbem, 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) pese, igbin, bata, bembe, gudugudu, kanango,dundunm, ogidigbo, gangan,  etc.

OBJECTIVES
Candidates should be able to:

i. differentiate   between   the   various   types and classes of musical . instruments;
ii. classify them into their categories.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

4. Knowedge of the lives and music of the following African tradition 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 Uje, etc.
(ii)  Ezigbo Obiligbo, Seven-Seven, Morocco Maduka, Okechukwu Nwatu, etc.
(iii) Kokoro, the blind Minstrel, Anikura, Tunde Alao etc.

B. OTHER AFRICANS
Vinoko Akpalu, Daniel Amponsah (alias koo Nimo), Efua Basa, Kwaa Mensah etc;

OBJECTIVES
Candidates should be able to:

i. identify different groups to which various musicians belong;
ii. trace their biographies;
iii. analyse their musicals styles;
iv. assess their contributions to the music industry.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

5. Evolution and Development of African Popular Music:
Highlife, Afro-beat, Fuji, Apala, Reggae, Makosa, Ikwokirikwo, Okukuseku, Ekassa, Awurebe, Waka etc.

OBJECTIVES
Candidates should be able to:

i. differentiate one musical genre from another;
ii. Examine their influence on society.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

6.  Knowledge of the live and music of the following African Popular Musicians.
A. NIGERIANS:Bongos Ikwe, Charles Oputa (alias Charlie Boy), Oliver De Coque, Nelly Uchendu, Osita Osadebe, Bright Chimezie,Bobby Benso, Victor Uwaifor, Sunny Okosun, Fela Anikulapo Kuti, I. K. Dairo, Victor Olaiya, Ebenezer Obey, Sunny Ade, Fatai Rolling Dollar, Bala Miller, Alhaji Uba Rawa, Zaaki Adzee, 2Face, Styl Plus, P. Square, Dijnee, Paul Play Dairo, Eedris Abdulkareem, Debang, Sunni Neji, Lagbaja, Zule Zoo, Daddy Showkey, Majek Fashek, Ras Kimono, Jeremiah Gyang, etc.

B. OTHER AFRICAN
Manu Dibango, E. T. Mensah, Jerry Hansen, Kofi Olomide, Awilo Logomba, Papa Wemba, Salif Kaita, Angelique Kidjo, Lucky Dube, Yvonne Chakachaka, Brenda Fasie, etc.

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

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

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, etc.

B. OTHER AFRICANS:
Joseph S. Maison, N. Z. Nayo, J. H. Kwabena Nketia, etc.

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

SECTION D: HISTORY AND LITERATURE OF WESTERN MUSIC [JAMB 2020/2021 MUSIC SYLLABUS]

TOPICS/CONTENTS/NOTES

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

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.

TOPICS/CONTENTS/NOTES

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, etc.

OBJECTIVES
Candidates should be able to:

i. identify the composers;
ii. assess their contributions

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

2. MUSIC FORMS
(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) Keboard [instrument – the organ, piano and electronic keyboard, etc
(v) Knowledge of the following instruments: Ukuele, banjo, guitar, mandoline, harp, accordion, xylophone,   marimba, ect.

OBJECTIVES
Candidates should be able to:

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

SECTION E: COMPARATIVE MUSIC STUDIES


TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

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; Lauryn Hill, Kirk Franklin, Tupac Shakur, Shabba Ranks, Quincy Jones, Boyz II Men, Sean Paul, Janet Jackson,; Whitney Houston, Beybnce brandy, Usher, Kevin Lyttle, Bobby Brown, M; C: Hammer, L. L. Cbbl J;, Dr. Dre, Snoop Doggy, Mary J. Blige, etc.

OBJECTIVES
Candidates should be able to:

i. identify the musicians in the diaspora; ii. assess their musical influence on the global society.

TOPICS/CONTENTS/NOTES [JAMB 2020/2021 MUSIC SYLLABUS]

2. Forms to be examined include negro spiritual, gospel music, jazz, rhythm and blues, soul, calypso, rock -n’ roll, reggae, afro-beat, tango, rap, chachacha, bolerej, twist h*p-hop, etc;

OBJECTIVES
Candidates should be able to:

i. identify the various forms of musical genres;
ii. trace  the  origins  of the  musical genres.


TOPICS/CONTENTS/NOTES [JAMB 2019/2020 MUSIC SYLLABUS]

3. The spirit of nationalism in Nigerian music.

OBJECTIVES
Candidates should be able to:

i. identify some ofv the features and materials used.C by nationalist composers to create,,. project, and sustain cultural and patriotic awareness;
ii. assess their roles in Nigerian nationalism.

Music [JAMB 2020/2021 MUSIC SYLLABUS]

You Might Also Like these:

RECOMMENDED TEXTS [JAMB 2020/2021 MUSIC SYLLABUS] Akpabot, S. E. (1986) Foundation of Nigerian Traditional Music, Ibadan: Spectrum
Associated Board (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 Publishers Ltd.
Ekwueme L. (1993) Choir Training and Choral Conducting for African, Lagos:
Lenaus Advertising and Publishg Company
Hoist, I. (1963) An ABC of Music, Oxford: Oxforf University Press
Hosier, (1961) Instruments of the Orchestra Oxford: Oxford University Press Hunt, R. (1960) Elements of Music
Inartga, A. (1993) Music for Secondary Schools Vols, I and II, Ibadan: Spectrum Kamien, R. (1990) Music: An Appreciation, McGraw – Hill Publishing Company Kennedy, M. (1985) The Concise Ocford 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, Nigeria Magazine
Lovelock, W. (1953) A Concise History of Music, London: Bell and Hyman Machlis, J. (1977) The Enjoyment of Music, New York: W. W. Norton
Mensah, A. A. (Undate) 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) Ibasic Music: A Basic Theory Text, New York: 19, 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-in, London: Longman

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