Music

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;

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2. identify, through written/aural analysis, the features of the music of different periods of Western and African
music theory history, peoples, its forms and the media;

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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

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TOPICS/CONTENTS/NOTES OBJECTIVES
SECTION A: RUDIMENTS OF MUSIC

1. The staff:
(a) great staff,
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components of the staff and their application.
(b) ledger lines and spaces,
(c) open score (vocal score) and
(d) C clef, alto (viola clef) and tenor clef.
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2. Music Notes/Rests and their corresponding Candidates should be able to determine the relative
values. duration of different notes and rests.

3. Time/Time signature:
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(simple and compound time signatures), the Candidates should be able to interpret varied rhythmic
correct grouping of notes and barring of patterns.
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unbarred passages.

4. A – Key signatures and scales: Candidates should be able to:

(i) technical names of the various degrees i. ascertain names of the various degrees
of the scale of
(ii) diatonic major/minor (natural, harmonic the diatonic scales.
and melodic)
(iii) chromatic scales. ii. identify simple scale passages with or
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without key signature.

B – Determination of the key of a piece of

music with or without key signature NOT
exceeding two sharps and two flats.

5. (a) Keyboard setting and enharmonic Candidates should be able to identify the names of the
equivalents white and black keys and their relationship, e.g. C
(b) Accidentals
sharp = = Bx

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TOPICS/CONTENTS/NOTES OBJECTIVES
6. Intervals:
6a. Recognition of diatonic / chromatic Candidates should be able to determine different
intervals and their inversions (e.g. perfect qualities of intervals (melodic and harmonic).
unison, perfect 4th, perfect 5th, perfect 8ve),
major/minor 2nd, 3rd, 6th and 7th, diminished 5th
and augmented 4th
6b. Recognition of consonant and dissonant
intervals.

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

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8. (a) Transcription of music from staff into Candidates should be able to interpret simple musical
tonic solfa notation and vice-versa. signs and terms.
(b) Transposition using the treble (G) and
bass (F) staves NOT exceeding two
sharps and two flats. Candidates should be able to:
i. read music in any given notation.

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SECTION B: ELEMENTARY HARMONY ii. rewrite a music passage on a given stave.

1. Triads and their inversions in major/minor

keys, NOT exceeding two sharps and two flats. Candidates should be able to:
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(a) Primary triads in major keys.
(b) Secondary triads in major keys.
i. identify triads;
ii. compare types of triads;
iii. determine the use of triads.
NOTE A
CHORD INDICATIONS
(i) major triads are indicated with capital
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Roman numerals e.g. I
(ii) minor triads are indicated with small
Roman numerals e.g. ii
(iii) diminished triads are indicated with small
Roman numerals with a “o” sign, e.g. viio
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(iv) augmented triads are indicated with

capital numerals with a “+”, e.g III+
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NOTE B
(i) In any major scale, major triads are I, IV
and V
(ii) minor triads are ii, iii and vi
(iii) diminished triad is viio

NOTE C
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(i) In any harmonic minor, minor triads are i

and 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 scales
but i, iv and V in harmonic minor scales.

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TOPICS/CONTENTS/NOTES OBJECTIVES
2. (a) Basic chord progressions in four parts
vocal style (SATB) in major keys NOT Candidates should be able to:
exceeding two sharps and two flats. i. determine the basic chord progressions in a music
(b) Dominant 7th chord in root position only passage; and
ii. recognize the dominant 7th chord.

3. Kinds of motion;
Parallel, Similar, Contrary and Oblique Candidates should be able to identify the various

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kinds of motion in a musical passage.

4. Cadences in major keys NOT exceeding two

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sharps and two flats. Candidates should be able to identify the various types
(a) perfect / full close cadence of cadences in a musical score.
(b) imperfect / half close / semi cadence
(c) plagal / Amen cadence
(d) interrupted / deceptive / evaded / surprise
cadence.

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5. Non-harmonic tones / Non-chord tones;
identification and application of the following: Candidates should be able to relate harmonic or non-
(a) neighbouring tones / auxiliary notes harmonic tones to the chords with which they are
(b) passing tones / notes associated.

6. MODULATION
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Simple diatonic modulations (using a single
melodic line) from any given major key NOT Candidates should be able to determine the key of a
exceeding two sharps and two flats to any of its given melody and its modulation.
closely related keys (dominant and
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subdominant).

7. Elementary Composition
(a) Setting of words to written melody Candidates should be able to identify suitable melody
(b) Recognition of suitable answers to given to given words, compatible, balanced or contrasting
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musical phrases phrases.

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SECTION C: HISTORY AND LITERATURE

OF AFRICAN MUSIC

1. Nigerian folksongs, types, forms and

characteristics. Candidates should be able to:
(a) Types: cradle, folk-tales, games, war, i. identify various folksongs and their types;
satirical, dirges / funeral, historical, praise and ii. define and compare their forms and features.
worksong, etc.
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(b) Forms: call and response, strophic,

through-composed, antiphony, etc.
(c) Characteristics:
(i) Vocal styles: recitative, yodeling,
ululation, incantation, heaving,
whistling, nasalisation, etc.
(ii)Scales/modes: tritonic, tetratonic,
pentatonic, hexatonic etc.
(iii) Metre/Rhythm: Metric and non-metric,
polymetric, cross rhythm, syncopation,
hemiola, poly-rhythm, etc.

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TOPICS/CONTENTS/NOTES OBJECTIVES

2. General knowledge of the features and forms of

Nigerian traditional music and other arts. Candidates should be able to:
i. analyse the features and forms of Nigerian
(i) Festivals: e.g. Osun, Ifa, Ogun, Ekpo, traditional music and the arts;
Ofala, Iriji (New Yam Festival), Ovia
Osese, Mmanwu (Masquerade), Ila-Oso, ii. differentiate between the various types of
Argungu (Fishing), Eyo/Adamu-Orisa, festivals and dances.

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Gelede, etc.
(ii) Dances and other arts: Social, Ritual and
Ceremonial e.g. Masquerade, Koroso,

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Atilogwu, Ikperikpe (War dance),
Egedeege, Kwaghir, Agbon, Nkwa
Umuagbogho, Bata, Bori, Swange,
Dundun, Kokoma, Abigbo, Okonko, etc.

3. INSTRUMENTS
Nigerian traditional musical instruments: Candidates should be able to:

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i. differentiate between the various types and
CLASSIFICATIONS classes of musical instruments;
(a) Aerophones:
(i) kakaki, algaita, sarewa, pedete, obati, ii. classify them into their categories.
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farai, kaho, imar, mongom, taluk,
damalgo, etc.
(ii) oja, opi, pipilo, udu, nnuk, ofiom,
akpele, etc.
(iii) ekutu, teremagbe, ayeta-ode, odikakora,
etc.
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(b) Chordophones
(i) goge, kukuma, komo, kwamsa, kuntigi,
lasha, molo, garaya, gurmi, etc.
(ii) une, ubo-akwara, etc.
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(iii) goje, molo, etc

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(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
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(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, gangan, etc.

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TOPICS/CONTENTS/NOTES OBJECTIVES
4. Knowledge of the lives and music of the
following African traditional musicians: Candidates should be able to:
i. identify different groups to which various
A. NIGERIANS musicians belong;
(i) Sani Sabulu, Sani Dan Indo, Hassan ii. trace their biographies;
Wayam, Barmani Coge, Danlami iii. mention their musical styles; and
Nasarawa, Garba Super, Dankwairo, iv. assess their contributions to the music industry.
Aminu mai Asharalle, Shehu Ajilo, Dan

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Maraya Jos, Dan Alalo, Mamman Shata,
Haruna Uji, etc.
(ii) Ezigbo Obiligbo, Seven-Seven, Morocco

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Maduka, Okechukwu Nwatu, Mike
Ejeagha, Afam Ogbuotobo etc.
(iii) Kokoro, (the blind Minstrel), Anikura,
Tunde Alao,Olanrewaju Adepoju,
Ademola Onibon-okuta, Elemure
Ogunyemi, Comfort Omoge etc.

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B. OTHER AFRICANS
Vinoko Akpalu, Daniel Amponsah (alias
koo Nimo), Efua Basa, Kwaa Mensah etc. Candidates should be able to:
i. differentiate one musical genre from another; and
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Evolution and Development of African Popular
Music:
ii. examine their influence on society.

Highlife, Juju, Afro-beat, Fuji, Apala, Reggae,

Makosa, Ikwokirikwo, Okukuseku, Ekassa,
Akuko na egwu, Awurebe, Waka, Hiplife, Hip-
hop, etc.
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6. Knowledge of the lives and music of the Candidates should be able to:
following African Popular Musicians. i. relate the musicians to the music they perform;
ii. trace their biographies;
A. NIGERIANS: iii. examine their type of music;
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Bongos Ikwe, Oliver De Coque, Nelly iv. assess their contributions to the development of
Uchendu, Osita Osadebe, Bright Chimezie, music.
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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, 2Face, PSquare, Djnee, Paul Play
Dairo, Eedris Abdulkareem, D’Banj, Sunny
Neji, Lagbaja, Zule Zoo, Daddy Showkey,
Majek Fashek, Ras Kimono, Jeremiah Gyang,
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Flavour, Olamide, M.I, Iyanya, Wizkid,

Davido, Omawunmi, Lara George, Sola
Allynson, Ara, Asa, Onyeka Onwenu, Christy
Essien-Igbokwe, Nasir Hausawa 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, Sarkodie
etc.

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TOPICS/CONTENTS/NOTES OBJECTIVES

7. Knowledge of the lives and music of the

following African Art Musicians: Candidates should be able to:
i. relate the musicians to the music they perform;
A. NIGERIANS: ii. trace their biographies;
W. W. C. Echezona, Laz Ekwueme, Sam iii. examine their type of music; and
Akpabot, Ikoli Harcourt Whyte, Joshua iv. assess their contributions to the development of
Uzoigwe, Mosun Omibiyi-Obidike, Tunji music.

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Vidal, Ademola Adegbite, Yemi Olaniyan,
Ayo Bankole, Akin Euba, Sam Ojukwu, A. K.
Achinivu, Bode Omojola, Felix Nwuba,

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Christopher Oyesiku, Dayo Dedeke, Adams
Fiberesima, Dan Agu, Chris Onyeji, Godwin
Sadoh, Meki Nzewi, etc.

B. OTHER AFRICANS:
Joseph S. Maison, N. Z. Nayo, J. H. Kwabena
Nketia, Gymah Labi, Philip Gbeho, Ephraim

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Amu, C.K. Adom, A.A. Mensah, C.W.K.
Mereku, etc.

SECTION D: HISTORY AND LITERATURE

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OF WESTERN MUSIC

1. (A) Historical development of Western music

styles in respect of the periods Candidates should be able to trace the stages of the
(i) Medieval/Middle Age (800 – 1400). development of western musical practice from the
(ii) Renaissance period (1400 – 1600). medieval to the end of the romantic period.
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(iii) Baroque period (1600 – 1750).
(iv) Classical period (1750 – 1820).
(v) Romantic period (1820 – 1900).

B. COMPOSERS
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Palestrina, Claudio Monteverdi, Henry Purcell, Candidates should be able to:

J.S. Bach, G. F. Handel, W. A. Mozart, Franz i. identify the composers; and
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Joseph Haydn, Ludwig van Beethoven, Franz ii. assess their contributions.
Schubert, Frederic Chopin, etc.

2. MUSIC FORMS AND MEDIA

(i) Binary, Ternary, Rondo, Sonata Allegro,
Dance Suite, Canon, Free Fantasia, Theme
and variation, etc. Candidates should be able to:
(ii) Orchestral and Band instruments and i. identify the general forms and various types of
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classifications instruments in Western music; and

(iii) The human voice (its types, ranges and ii. relate music to modern technology.
qualities)
(iv) Keyboard Instruments – the organ, piano
and electronic keyboard, e.t.c.
(v) Knowledge of the following instruments:
ukulele, banjo, guitar, mandolin, harp,
accordion, xylophone, marimba, etc.

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TOPICS/CONTENTS/NOTES OBJECTIVES
(vi) Computer Music Technology: software
(Finale, Sibelius, Cubase, Reason, Sound Forge
Nero), tuning fork, pitch pipe etc.

SECTION E: COMPARATIVE MUSIC

STUDIES
1. An overview of the following black musicians Candidates should be able to:

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(composers, performers, etc) in the diaspora. Mighty i. identify the musicians in the diaspora by their
Sparrow, James Brown, Bob Marley, Michael names; and
Jackson, Stevie Wonder, Lionel Richie, R. Kelly, ii. assess their individual musical influences on the
Lorrinan Hill, Kirk Franklin, Tupac Shakur, Shabba

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global society.
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 etc.

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2. Forms to be examined include spirituals, gospel
music, jazz, rhythm and blues, soul, calypso, Candidates should be able to:
rock ‘n’ roll, reggae, afro-beat, tango, rap, i. identify the various forms of musical genres;
chachacha, bolero, twist, hip-hop, etc. ii. trace the origins of the musical genres.
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3. The spirit of nationalism in Nigerian music.
Candidates should be able to:
i. identify some of the features and materials used
by nationalist composers to create, project and
sustain cultural and patriotic awareness;
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ii. assess their roles in Nigerian nationalism.
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RECOMMENDED TEXTS

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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.

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Ekwueme, L. (1993). Choir Training and Choral Conducting for Africans, Lagos: Lenaus Advertising and Publishing
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Holst, I. (1963). An ABC of Music, Oxford: Oxford University Press.

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Hosier, (1961). Instruments of the Orchestra Oxford: Oxford University Press.
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Kennedy, M. (1985). The Concise Oxford Dictionary of Music, (Third Edition), London: Oxford University Press.
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Kofoworola, Z. O. And Lateef, Y. (1987). Hausa performing Arts and Music, Lagos: Nigeria Magazine.
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Lovelock, W. (1953). A Concise History of Music, London: Bell and Hyman.
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Reed, H. O. (1954). Basic Music: A Basic Theory Text, New York:, N. Y. Mills Music Inc.
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Warburton, A. O. (1955). Graded Music Course for Schools, Books I – III, London: Longman.
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