jamb computer based test

JAMB COMPUTER BASED TEST

Username / Email: • Password:
Welcome Guest • Don't have an account? RegisterForgot password? News feedsForum feedsStart a discussionTest yourself hereAll Latest News

JAMB Brochure for 2016/2017 [Official]

Degree

National Certification Examination

National Diploma

Innovation Enterprise Institutions

Select a subject to search the Brochure

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
Quadratic Equation:
Ax2 + Bx + C = 0
A =
B =
C =
X1 =
X2 =

Credit: Samuel George

News

FUTMINNA ADMISSION LIST FOR TH...

Federal University of Technology, Minna, FUTMINNA first batch admission list for the 2017/2018 aca...

FUTO SUPPLEMENTARY ADMISSION F...

Federal University of Technology, Owerri, FUTO supplementary admission form for the 2017/2018 acad...

UPDATED: MOUAU MERIT ADMISSION...

Michael Okpara University Of Agriculture, Umudike, MOUAU merit admission list for the 2017/2018 ac...

HOW TO PRINT NYSC BATCH 'B' CA...

National Youth Service Corps, NYSC call up letters for 2017 Batch 'B' Prospective Corps M...

FEDERAL POLY ADO-EKITI ND PART...

Federal Polytechnic, Ado-Ekiti FEDPOLYADO ND part-time admission list for the 2017/2018 academic s...
Forum Post
STUDYING ABROAD WITH PARTIAL SCHOLARSHIP HELPS
If a school was to give an average student whose financial situation is poor a partial scholarship w...
MISTAKEN PROFILE REGISTRATION
Someone mistakenly registered with another's name, local govt,email, phone no , what can be done please
HOW TO STUDY AND UNDERSTAND CHEMISTRY FOR JAMB UTM...
If chemistry is your most difficult subject, then always study it before all other subjects. You mus...
FULL SUMMARY OF IN DEPENDENCE JAMB NEW BOOK FOR 20...
Full Summary of "In Dependence" JAMB New Book For 2017 UTME Candidates. In Dependence"JAMB New Bo...
INDEPENDANCE JAMB NOVEL 2017
We want u to help us with the summary of in dependence 2017 jamb novel pls
Facebook Page
Twitter
Google Plus
Networked Blogs
© - JAMB computer based test 2012-2017     » p-initiative     » Privacy Policy     » Disclaimer     » Report a bug     » Nav Sitemap     » Forum Sitemap     » News Sitemap