GO TO  INSTITUTIONS FULL MEANING

GENERAL OBJECTIVES:

The aim of the Unified Tertiary Matriculation Examination (UTME) syllabus in Music is to prepare the candidatesfor the Board’s examination. It is designed to test their achievement of the course objectives, which are to:

1. appreciate and discuss music fairly and critically;
2. identify, through written/aural analysis, the features of the music of different periods of Western andAfrican music theory history, peoples, its forms and the media;
3. appreciate the influence of socio-cultural and technological factors on the lives and music of musicians.
4. attain a sound musical basis for further learning at the tertiary level.

DETAILED SYLLABUS

SECTION A: RUDIMENTS OF MUSIC
TOPICS/CONTENTS/NOTES	OBJECTIVES, Candidates should be able to:
1. The staff: (a) great staff, (b) ledger lines and spaces, (c) open score (vocal score) and (d) C clef, alto (viola clef) and tenor clef.	Candidates should be able to identify all thecomponents of the staff and their application.
2. Music Notes/Rests and their correspondingvalues.	Candidates should be able to determine the relativeduration of different notes and rests.
3. Time/Time signature: (simple and compound time signatures), thecorrect grouping of notes and barring ofunbarred passages.	Candidates should be able to interpret variedrhythmic patterns.
4. A – Key signatures and scales: (i) technical names of the various degreesof the scale (ii) diatonic major/minor (natural, harmonicand melodic) (iii) chromatic scales. B – Determination of the key of a piece ofmusic with or without key signature NOTexceeding two sharps and two flats.	i. ascertain names of the various degrees ofthe diatonic scales. ii. identify simple scale passages with orwithout key signature.
5. (a) Keyboard setting and enharmonicequivalents (b) Accidentals	Candidates should be able to identify the names ofthe white and black keys and their relationship, e.g.(C sharp =Dᵓᵓ = Bx).
6. Intervals: 6a. Recognition of diatonic / chromaticintervals and their inversions (e.g. perfectunison, perfect 4th, perfect 5th, perfect 8ve),major/minor 2nd, 3rd, 6th and 7th, diminished 5thand augmented 4th 6b. Recognition of consonant and dissonantintervals.	Candidates should be able to determine differentqualities of intervals (melodic and harmonic).
7. Definition of simple musical terms, signs andabbreviations.	Candidates should be able to interpret simple musicalsigns and terms.
8. (a) Transcription of music from staff intotonic solfa notation and vice-versa. (b) Transposition using the treble (G) andbass (F) staves NOT exceeding twosharps and two flats.	Candidates should be able to: i. read music in any given notation. ii. rewrite a music passage on a given stave.
SECTION B: ELEMENTARY HARMONY
TOPICS/CONTENTS/NOTES	OBJECTIVES, Candidates should be able to:
1. Triads and their inversions in major/minorkeys, NOT exceeding two sharps and twoflats. (a) Primary triads in major keys. (b) Secondary triads in major keys.	NOTE A: CHORD INDICATIONS (i) major triads are indicated with capitalRoman numerals e.g. I (ii) minor triads are indicated with smallRoman numerals e.g. ii (iii) diminished triads are indicated with smallRoman numerals with a “o” sign, e.g. viio (iv) augmented triads are indicated withcapital numerals with a “+”, e.g III+ NOTE B: (i) In any major scale, major triads are I, IVand V (ii) minor triads are ii, iii and vi (iii) diminished triad is viio NOTE C: (i) In any harmonic minor, minor triads are iand iv (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 scalesbut i, iv and V in harmonic minor scales.
2. (a) Basic chord progressions in four partsvocal style (SATB) in major keys NOTexceeding two sharps and two flats.(b) Dominant 7th chord in root position only	Candidates should be able to: i. determine the basic chord progressions in amusic passage. ii. recognize the dominant 7th chord.
3. Kinds of motion; Parallel, similar, contrary and oblique	Candidates should be able to identify the variouskinds of motion in a musical passage.
4. Cadences in major keys NOT exceeding twosharps and two flats. (a) perfect / full close cadence (b) imperfect / half close / semi cadence. (c) plagal / Amen cadence (d) interrupted / deceptive / evaded / surprisecadence	Candidates should be able to identify the varioustypes of cadences in a musical score.
5. Non-harmonic tones / Non-chord tones; identification and application of the following: (a) neighbouring tones / auxiliary notes (b) passing tones / notes	Candidates should be able to relate harmonic or nonharmonictones to the chords with which they areassociated.
6. MODULATION Simple diatonic modulations (using a singlemelodic line) from any given major key NOTexceeding two sharps and two flats to any ofits closely related keys (dominant andsubdominant).	Candidates should be able to determine the key of agiven melody and its modulation.
7. Elementary Composition: (a) Setting of words to written melody: (b) Recognition of suitable answers to givenmusical phrases	Candidates should be able to identify suitablemelody to given words, compatible and balanced(parallel or contrasting) phrases.
SECTION C: HISTORY AND LITERATUREOF AFRICAN MUSIC
TOPICS/CONTENTS/NOTES	OBJECTIVES, Candidates should be able to:
1. Nigerian folksongs, types, forms andcharacteristics. (a) Types: cradle, folk-tales, games, war,satirical, dirges / funeral, historical, praise andworksong, 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.	Candidates should be able to: i. identify various folksongs and their types; ii. define and compare their forms and features.
We provide educational resources/materials, curriculum guide, syllabus, scheme of work, lesson note & plan, waec, jamb, O-level & advance level GCE lessons/tutorial classes, on various topics, subjects, career, disciplines & department etc. for all the Class of Learners
2. General knowledge of the features and formsof Nigerian traditional music and other arts. (i) Festivals: e.g. Osun, Ifa, Ogun, Ekpo,Ofala, Iri-ji (New Yam Festival), OviaOsese, Mmanwu (Masquerade), Ila-Oso,Argungu (Fishing), Eyo/Adamu – Orisa,Gelede, etc. (ii) Dances and other arts: Social, Ritual andCeremonial e.g. Masquerade, Koroso,Atilogwu, Ikperikpe (War dance),Egedeege, Kwaghir, Agbon, NkwaUmuagbogho, Bata, Bori, Swange,Dundun, Kokoma, Abigbo, Okonko, etc.	Candidates should be able to: i. analyse the features and forms of Nigeriantraditional music and the arts; ii. differentiate between the various types offestivals and dances.
3. INSTRUMENTS: Nigerian traditional musical instruments: 4. Knowledge of the lives and music of thefollowing African traditional musicians: CLASSIFICATIONS: (a) Aerophones: (i) kakaki, algaita, sarewa, pedete, obati,farai, kaho, imar, mongom, taluk,damalgo, etc. (ii) oja, opi, pipilo, odu, 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, agidigbo, gangan, etc.	Candidates should be able to: i. differentiate between the various types andclasses of musical instruments; ii. classify them into their categories.
A. NIGERIANS (i) Sani Sabulu, Sani Dan Indo, HassanWayam, Barmani Coge, DanlamiNasarawa, Garba Super, Dankwairo,Aminu mai Asharalle, Shehu Ajilo, DanMaraya Jos, Dan Alalo, Mamman Shata,Haruna Uje, etc. (ii) Ezigbo Obiligbo, Seven-Seven, MoroccoMaduka, Okechukwu Nwatu, MikeEjeagha, Afam Ogbuotobo etc. (iii) Kokoro, (the blind Minstrel), Anikura,Tunde Alao,Olanrewaju Adepoju,Ademola Onibon-okuta, ElemureOgunyemi, Comfort Omoge etc. B. OTHER AFRICANS Vinoko Akpalu, Daniel Amponsah (aliaskoo Nimo), Efua Basa, Kwaa Mensah etc.	Candidates should be able to: i. identify different groups to which variousmusicians belong; ii. trace their biographies; iii. analyse their musical styles; iv. assess their contributions to the music industry.
5. Evolution and Development of AfricanPopular Music: Highlife, Afro-beat, Fuji, Apala, Reggae,Makosa, Ikwokirikwo, Okukuseku, Ekassa,Akuko na egwu, Awurebe, Waka, Hiplife,Hip-hop, Juju etc.	Candidates should be able to: i. differentiate one musical genre from another; ii. examine their influence on society.
6. Knowledge of the lives and music of thefollowing African Popular Musicians. A. NIGERIANS: Bongos Ikwe, Oliver De Coque, NellyUchendu, Osita Osadebe, Bright Chimezie,Bobby Benson, Victor Uwaifo, SonnyOkosun, Fela Anikulapo Kuti, I. K. Dairo,Victor Olaiya, Ebenezer Obey, Sunny Ade,Fatai Rolling Dollar, Bala Miller, Alhaji UbaRawa, Zaaki Adzee, 2Face, PSquare, Djnee,Paul Play Dairo, Eedris Abdulkareem, D’Banj,Sunny Neji, Lagbaja, Zule Zoo, DaddyShowkey, Majek Fashek, Ras Kimono,Jeremiah Gyang, Flavour, Olamide, M.I,Iyanya, Wizkid, Davido, Omawunmi, LaraGeorge, Sola Allynson, Ara, Asa, OnyekaOnwenu, Christy Essien-Igbokwe, NasirHausawa etc. 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, Sarkodieetc.	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 ofmusic.
7. Knowledge of the lives and music of thefollowing African Art Musicians: A. NIGERIANS: W. W. C. Echezona, Laz Ekwueme, SamAkpabot, Ikoli Harcourt Whyte, JoshuaUzoigwe, Mosun Omibiyi-Obidike, TunjiVidal, Ademola Adegbite, Yemi Olaniyan,Ayo Bankole, Akin Euba, Sam Ojukwu, A. K.Achinivu, Bode Omojola, Felix Nwuba,Christopher Oyesiku, Dayo Dedeke, AdamsFiberesima, Dan Agu, Chris Onyeji, GodwinSadoh, Meki Nzewi, etc. B. OTHER AFRICANS: Joseph S. Maison, N. Z. Nayo, J. H. KwabenaNketia, Gymah Labi, Philip Gbeho, EphraimAmu, C.K. Adom, A.A. Mensah, C.W.K.Mereku, etc.	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 ofmusic.
SECTION D: HISTORY AND LITERATUREOF WESTERN MUSIC
TOPICS/CONTENTS/NOTES	OBJECTIVES, Candidates should be able to:
1. (A) Historical development of Western musicstyles 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).	Candidates should be able to trace the stages of thedevelopment of western musical practice from themedieval to the end of the romantic period.
B. COMPOSERS Palestrina, Claudio Monteverdi, HenryPurcell, J.S. Bach, G. F. Handel, W. A.Mozart, Franz Joseph Haydn, Ludwig vanBeethoven, Franz Schubert, Frederic Chopin,etc.	Candidates should be able to: i. identify the composers; ii. assess their contributions.
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 andclassifications (iii) The human voice (its types, ranges andqualities) (iv) Keyboard Instruments – the organ, pianoand electronic keyboard, e.t.c. (v) Knowledge of the following instruments:ukulele, banjo, guitar, mandolin, harp,accordion, xylophone, marimba, etc. (vi) Computer Music Technology: software(Finale, Sibelius, Cubase, Reason, SoundForge Nero), tuning fork, pitch pipe etc.	Candidates should be able to: i. identify the general forms and various types ofinstruments in Western music. ii. relate music to modern technology.
SECTION E: COMPARATIVE MUSICSTUDIES
TOPICS/CONTENTS/NOTES	OBJECTIVES, Candidates should be able to:
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, Lorrinan Hill, Kirk Franklin, Tupac Shakur,Shabba Ranks, Quincy Jones, Boyz II Men, SeanPaul, 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.	Candidates should be able to: i. identify the musicians in the diaspora; ii. assess their musical influence on the globalsociety.
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, bolero, twist, hip-hop, etc.
Candidates should be able to: i. identify the various forms of musical genres; ii. trace the origins of the musical genres.
3. The spirit of nationalism in Nigerian music.	Candidates should be able to: i. identify some of the features and materials usedby nationalist composers to create, project andsustain cultural and patriotic awareness; ii. assess their roles in Nigerian nationalism.
We provide educational resources/materials, curriculum guide, syllabus, scheme of work, lesson note & plan, waec, jamb, O-level & advance level GCE lessons/tutorial classes, on various topics, subjects, career, disciplines & department etc. for all the Class of Learners

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 andPublishing 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 School of Music.

Warburton, A. O. (1955). Graded Music Course for Schools, Books I – III, London: Longman.