Music GENERAL OBJECTIVES The aim of the Unified Tertiary Matriculation Examination (UTME) syllabus in Music is to prepare the candidates for 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 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 SECTION A: RUDIMENTS OF MUSIC TOPICS/CONTENTS/NOTES 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 Candidates should be able to: i. identify all the components of the staff and the application. TOPICS/CONTENTS/NOTES 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 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 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 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 6. Recognition of diatonic intervals and their inversions (e.g. perfect, unison, perfect 4th, perfect 5th , perfect 8th ), 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 7. Definition of simple musical terms, abbreviations and expressions. OBJECTIVES Candidates should be able to: i. interpret simple musical terms. TOPICS/CONTENTS/NOTES 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 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: i. identify triads; ii. compare types of triads; iii. determine the use of triads. TOPICS/CONTENTS/NOTES 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 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 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 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 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 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 TOPICS/CONTENTS/NOTES 1. Nigerian folksongs, types, form and characteristic. (i) (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 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 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 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 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 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 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 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 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 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 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 hip-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 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 RECOMMENDED TEXTS 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