JAMB Music Syllabus 2027: Full Topics, Objectives and Recommended Textbooks

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Last updated: October, 2026

Writing Music in the 2027 UTME? The Joint Admissions and Matriculation Board (JAMB) syllabus tells you exactly what the examiners can ask, from music theory to the musicians you must know, so you can prepare with purpose.

This page lists all five sections and 27 topics in the official JAMB Music syllabus, the skills you are expected to show on each one, and the textbooks JAMB recommends. You will also find a six-week study plan, sample questions and answers to frequently asked questions.

Quick Facts

• Exam: Unified Tertiary Matriculation Examination (UTME), computer-based
• Subject: Music
• Syllabus sections: 5 (Rudiments of Music, Elementary Harmony, History and Literature of African Music, History and Literature of Western Music, Comparative Music Studies)
• Total topics: 27 main topics (8 in Section A, 7 in Section B, 7 in Section C, 2 in Section D, 3 in Section E)
• Key limits: keys not exceeding two sharps and two flats in harmony and key work
• Newer content: computer music technology and Artificial Intelligence (AI) in music
• Source: Official JAMB syllabus

In This Guide

1. Aim and objectives of the syllabus
2. The five sections at a glance
3. Detailed syllabus (topics and what you should be able to do)
4. Recommended textbooks
5. Six-week study plan
6. Sample questions
7. Subject combinations
8. FAQs

Aim and Objectives

The aim of the UTME Music syllabus is to prepare candidates for the Board’s examination and test how well they have achieved the course objectives. Candidates are expected to:

• Appreciate and discuss the foundations of music fairly and critically.
• Identify the features of the music of different periods through written and aural analysis.
• Investigate Western and African music theory, history, peoples, forms and media of performance, including instrumentation.
• Recognise the influence of socio-cultural and technological factors, including computer software applications, on the lives and music of musicians.
• Acquire a sound musical basis for further learning at the tertiary level.

The Five Sections at a Glance

• Section A: Rudiments of Music (8 topics): the staff, notes and rests, time signatures, key signatures and scales, the keyboard, intervals, musical terms, and transcription and transposition
• Section B: Elementary Harmony (7 topics): triads, chord progressions, kinds of motion, cadences, non-harmonic tones, modulation and elementary composition
• Section C: History and Literature of African Music (7 topics): folksongs, traditional music and festivals, instruments, and African traditional, popular and art musicians
• Section D: History and Literature of Western Music (2 topics): periods and composers, and forms, media and technology
• Section E: Comparative Music Studies (3 topics): black musicians in the diaspora, musical genres, and nationalism in Nigerian music

Detailed Syllabus

Section A: Rudiments of Music

1. The Staff
   • The grand staff, ledger lines and spaces, open (vocal) score, and the G clef (treble), C clef (alto, tenor) and F clef (bass)
   • You should be able to: identify all the components of the staff and their uses.
2. Music Notes and Rests and their Values
   • You should be able to: determine the relative duration of notes and rests and apply them.
3. Time Signatures
   • Simple and compound time signatures, the correct grouping of notes, and barring of unbarred passages
   • You should be able to: interpret varied rhythmic patterns, and group and bar unbarred passages correctly.
4. Key Signatures and Scales
   • Technical names of the degrees of the scale, diatonic major and minor scales (natural, harmonic and melodic), chromatic scales, and determining the key of a piece with or without a key signature, not exceeding two sharps and two flats
   • You should be able to: name the degrees of the diatonic scales, identify simple scale passages, and tell diatonic from chromatic scales.
5. Keyboard Setting, Enharmonic Equivalents and Accidentals
   • You should be able to: identify the names of the white and black keys and their relationship, and state the function of accidentals.
6. Intervals
   • Recognition of diatonic and chromatic intervals and their inversions (perfect unison, 4th, 5th and 8ve, major and minor 2nd, 3rd, 6th and 7th, diminished 5th and augmented 4th)
   • You should be able to: determine the qualities of melodic and harmonic intervals and their inversions.
7. Simple Musical Terms, Signs and Abbreviations
8. Transcription and Transposition
   • Transcription from staff notation to tonic solfa and back, and transposition using the treble and bass staves, not exceeding two sharps and two flats
   • You should be able to: read music in staff and solfa notation, rewrite a passage on a given stave, and transcribe from staff to solfa.

Section B: Elementary Harmony

1. Triads and their Inversions
   • In major and minor keys not exceeding two sharps and two flats: primary triads and secondary triads in major keys
   • Chord indications: major triads use capital Roman numerals (I), minor triads use small ones (ii), diminished triads use a small numeral with a degree sign (vii°) and augmented triads use a capital numeral with a plus sign (III+)
   • In any major scale: major triads are I, IV and V, minor triads are ii, iii and vi, and the diminished triad is vii°
   • In the harmonic minor scale: minor triads are i and iv, major triads are V and VI, diminished triads are ii° and vii°, and the augmented triad is III+
   • Primary triads are I, IV and V in major scales, and i, iv and V in harmonic minor scales
   • You should be able to: identify triads and their inversions, compare types of triads, and determine their use.
2. Basic Chord Progressions
   • In four-part vocal style (SATB) in major keys not exceeding two sharps and two flats, and the dominant 7th chord in root position only
3. Kinds of Motion
   • Parallel, similar, contrary and oblique motion
4. Cadences in Major Keys
   • Perfect (full close), imperfect (half close or semi), plagal (Amen), and interrupted (deceptive, evaded or surprise) cadences, in keys not exceeding two sharps and two flats
5. Non-harmonic Tones
   • Neighbouring tones (auxiliary notes) and passing tones
6. Modulation
   • Simple diatonic modulations from a major key (not exceeding two sharps and two flats) to its closely related keys, the dominant and subdominant
7. Elementary Composition
   • Setting words to a written melody, recognising suitable answers to musical phrases, and two-part free counterpoint

Section C: History and Literature of African Music

1. Nigerian Folksongs: Types, Forms and Characteristics
   • Types: cradle, folk-tale, game, war, satirical, dirge or funeral, historical, praise and work songs
   • Forms: call and response, strophic, through-composed and antiphony
   • Characteristics: vocal styles (recitative, yodelling, ululation, incantation, heaving, whistling, nasalisation), scales and modes (tritonic, tetratonic, pentatonic, hexatonic) and metre and rhythm (metric and non-metric, polymetric, cross-rhythm, syncopation, hemiola, poly-rhythm)
2. Nigerian Traditional Music and Other Arts
   • Festivals: Osun, Ifa, Ogun, Ekpo, Ofala, Iri ji (New Yam Festival), Ovia Osese, Mmanwu (Masquerade), Ila-Oso, Argungu (Fishing), Eyo or Adamu Orisa, Gelede and others
   • Dances and other arts (social, ritual and ceremonial): Masquerade, Koroso, Atilogwu, Ikperikpe (war dance), Egedege, Kwaghir, Agbon, Nkwa Umuagbogho, Bata, Bori, Swange, Dundun, Kokoma, Abigbo, Okonko and others
   • You should be able to: analyse the features and forms of traditional music, differentiate the festivals and dances and their origins, and identify the relationship between music, dance and drama in African festivals.
3. Nigerian Traditional Musical Instruments
   • Aerophones (for example kakaki, algaita, sarewa, oja, opi, udu, akpele, ekutu and teremagbe), chordophones (goge, kukuma, kuntigi, garaya, goje, molo, une and ubo-akwara), idiophones (shantu, oyo, ichaka, ogene, ekwe, ikoro, sekere, agogo, agidigbo, aro and others) and membranophones (ganga, tambari, taushi, kalangu, igba, bata, bembe, gudugudu, dundun, gangan and others)
   • You should be able to: identify the features of each class, classify the instruments and trace their origin.
4. Lives and Music of African Traditional Musicians
   • Nigerians: 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 and Haruna Uji; Ezigbo Obiligbo, Seven-Seven, Morocco Maduka, Okechukwu Nwatu, Mike Ejeagha and Afam Ogbuotobo; Kokoro (the blind minstrel), Anikura, Tunde Alao, Olanrewaju Adepoju, Ademola Onibon-okuta, Elemure Ogunyemi and Comfort Omoge
   • Other Africans: Vinoko Akpalu, Daniel Amponsah (Koo Nimo), Efua Basa and Kwaa Mensah
   • You should be able to: identify the groups the musicians belong to, trace their biographies, mention their styles and assess their contributions.
5. Evolution and Development of African Popular Music
   • Highlife, Juju, Afrobeat, Fuji, Apala, Reggae, Makossa, Ikwokirikwo, Okukuseku, Ekassa, Akuko na egwu, Awurebe, Waka, Hiplife, Hip-hop and others
   • You should be able to: differentiate one genre from another and examine their influence on society.
6. Lives and Music of African Popular Musicians
   • Nigerians: Bongos Ikwe, Oliver De Coque, Nelly Uchendu, Osita Osadebe, Bright Chimezie, 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, Rude Boy (Paul Okoye), Mr. P (Peter Okoye), Djinee, Paul Play Dairo, Eedris Abdulkareem, D’Banj, Sunny Neji, Lagbaja, Zule Zoo, Daddy Showkey, Majek Fashek, Ras Kimono, Jeremiah Gyang, Flavour, Olamide, M.I, Iyanya, Wizkid, Davido, Omawumi, Lara George, Sola Allyson, Ara, Asa, Onyeka Onwenu, Christy Essien-Igbokwe, Nasir Hausawa and others
   • Other Africans: Manu Dibango, E. T. Mensah, Jerry Hansen, Koffi Olomide, Awilo Longomba, Papa Wemba, Salif Keita, Angelique Kidjo, Lucky Dube, Yvonne Chaka Chaka, Brenda Fassie, Sarkodie and others
7. Lives and Music of African Art Musicians
   • 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, Dayo Dedeke, Adams Fiberesima, Dan Agu, Chris Onyeji, Godwin Sadoh, Meki Nzewi, Solomon Ikibe, Idolor E. G., Femi Adedeji, Anthony Mereni, A. A. Layade and others
   • Other Africans: Joseph S. Maison, N. Z. Nayo, J. H. Kwabena Nketia, Gyimah Labi, Philip Gbeho, Ephraim Amu, C. K. Adom, A. A. Mensah, C. W. K. Mereku, A. A. Agordoh, J. O. Ofosu, S. G. Boateng and others
   • You should be able to: relate the musicians to their works, trace their biographies, examine their types of music and assess their contributions to music education in Nigeria.

Section D: History and Literature of Western Music

1. Historical Development of Western Music Styles, and Composers
   • Periods: Medieval or Middle Ages (800 to 1400), Renaissance (1400 to 1600), Baroque (1600 to 1750), Classical (1750 to 1820), Romantic (1820 to 1900) and the 20th century (1900 to 1999)
   • 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, Igor Stravinsky, Arnold Schoenberg, Zoltan Kodaly, Claude Debussy and others
   • You should be able to: identify the periods with their dates, trace the development of Western musical practice, identify the composers and assess their contributions.
2. Music Forms and Media
   • Forms: binary, ternary, rondo, sonata allegro, dance suite, canon, free fantasia, theme and variation
   • Orchestral and band instruments and their classification, the human voice (types, ranges and qualities), keyboard instruments (organ, piano, electronic keyboard), and other instruments (ukulele, banjo, guitar, mandolin, harp, accordion, xylophone, marimba)
   • Computer music technology: software (Finale, Sibelius, Cubase, Reason, Sound Forge, Nero), the tuning fork and the pitch pipe
   • Introduction to Artificial Intelligence in music technology: meaning, evolutionary trend, types, application of AI tools in composition and AI-powered music generators
   • You should be able to: identify the general forms and instruments of Western music, relate music to modern technology, and assess the contributions of AI.

Section E: Comparative Music Studies

1. Black Musicians 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, Beyonce, Brandy, Usher, Kevin Lyttle, Bobby Brown, M. C. Hammer, L. L. Cool J., Dr. Dre, Snoop Dogg, Mary J. Blige, Jay Z, Chris Brown, Bruno Mars, Ne-Yo, Rihanna, Louis Armstrong, Jimmy Cliff, Diana Ross and others
   • You should be able to: identify the musicians by name and work, and assess their influence on global society.
2. Musical Genres
   • African-American spirituals, gospel, jazz, rhythm and blues, soul, calypso, rock ‘n’ roll, reggae, afrobeat, tango, rap, cha-cha-cha, bolero, twist, hip-hop and others
   • You should be able to: identify the genres and trace their origins.
3. The Spirit of Nationalism in Nigerian Music
   • “One Love” by Onyeka Onwenu, “Which Way Nigeria?” by Sonny Okosun, the first national anthem “Nigeria We Hail Thee” by Frances Berda (1960 to 1978), the second national anthem “Arise O Compatriots” by Ben Odiase (1978 to 2025), the current national anthem “Nigeria We Hail Thee” (2025 to date), “Nigeria for All” by Sunny Ade, and “Nigeria Go Survive” by Veno Marioghae
   • You should be able to: identify the nationalistic composers and their works, identify the features and materials they used to create and sustain patriotic awareness, and assess their roles in Nigerian nationalism.

Recommended Textbooks

JAMB lists these texts for Music:

• Adesipe, A. E. (2025). Essential Music for Senior Secondary Schools with Introduction to Artificial Intelligence. Mowe Ibafo, Ogun State: Tonad Publishers.
• Adesipe, A. E. (2025). Artificial Intelligence in African Music and Instrumental Technology. Amazon Kindle Direct Publishing.
• Adesipe, A. E. (2024). History of Nigerian Folksongs. Ilorin: ADLEK Printing Press.
• Adesipe, A. E. (2024). Nigerian Festivals and Traditional Instruments. Amazon Kindle Direct Publishing.
• Adesipe, A. E. (2025). African Music and Instrumental Technology. Amazon Kindle Direct Publishing.
• Akpabot, S. E. (1986). Foundation of Traditional Music. Ibadan: Spectrum Books.
• Agu, C. C. (1999). Forms and Analysis of African Music. Enugu: New Generation Books.
• Echezona, W. W. C. (1981). Nigerian Musical Instruments. Enugu: Apollo Publishing Ltd.
• Ekwueme, L. U. (2007). Songs for Happy Little People. Lagos: West African Book Publisher Limited.
• Hosier (1961). Instruments of the Orchestra. Oxford: Oxford University Press.
• Kamien, R. (2008). Music: An Appreciation. New York: McGraw Hill.
• 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.
• Mensah, A. A. Folksongs for Schools. Accra.
• Mensah, I. T. (1990). Understanding Music, Books 1 to 3. Otuamic Publications.
• Nketia, J. H. K. (1973). African Music in Ghana; Folksongs of Ghana. Accra: University Press.
• Osunniyi, J. A. (1994). An Easy Way to Learning Music. Lagos: Jac-Ola Printing Press.
• Manford, R. et al (1990). Music for Senior Secondary Schools. Bombay: H. Gangaram.
• Vidal, A. O. (2012). Selected Topics on Nigerian Music. Ile-Ife: Imef African Music Publishers.

Six-Week Study Plan

• Week 1: Section A, topics 1 to 4 (staff, notes and rests, time signatures, keys and scales).
• Week 2: Section A, topics 5 to 8 (keyboard, intervals, musical terms, transcription), then start Section B.
• Week 3: Section B (triads, chord progressions, motion, cadences, non-harmonic tones, modulation and composition).
• Week 4: Section C, topics 1 to 4 (folksongs, traditional music, instruments and traditional musicians).
• Week 5: Section C, topics 5 to 7, then Sections D and E (popular and art musicians, Western music and comparative studies).
• Week 6: Revise weak topics and practise past questions under timed conditions.

Tips:

• Music theory is a skill. Practise writing scales, triads, intervals and cadences every day, and practise transcribing between staff and tonic solfa.
• Remember the key limit: harmony and key work do not go beyond two sharps and two flats.
• Learn the instruments by class (aerophones, chordophones, idiophones, membranophones), with an example from each region.
• Make a table of musicians, the genre they are known for and the region they come from.
• Make a timeline of the Western periods with their dates and composers.
• Use the syllabus objectives as a checklist. If you cannot do what an objective says, you are not ready on that topic.

Sample Questions

1. A minim is worth A. one crotchet B. two crotchets C. four crotchets D. half a crotchet Answer: B
2. The primary triads in a major key are A. I, IV and V B. ii, iii and vi C. I, ii and III D. vii°, ii° and iii Answer: A
3. A cadence that moves from chord V to chord I is a A. perfect cadence B. plagal cadence C. interrupted cadence D. imperfect cadence Answer: A
4. Which class of instrument produces sound from vibrating stretched strings? A. Aerophone B. Chordophone C. Idiophone D. Membranophone Answer: B
5. The Renaissance period in Western music falls between A. 800 and 1400 B. 1400 and 1600 C. 1600 and 1750 D. 1750 and 1820 Answer: B

Subject Combinations

Music is commonly required for courses such as Music, Performing Arts, Theatre and Media Arts, and Education (Music). Always check your chosen course and university in the JAMB brochure for the exact combination.

Related: JAMB Subject Combination for Arts Students | JAMB Brochure | JAMB Recommended Textbooks for All Subjects | JAMB UTME Registration Guide

Frequently Asked Questions

What is the JAMB Music syllabus?

It is the official JAMB document that lists the sections, topics and learning objectives candidates must cover for Music in the UTME.

How many sections are in the syllabus?

Five: Rudiments of Music, Elementary Harmony, History and Literature of African Music, History and Literature of Western Music, and Comparative Music Studies.

How many topics are in the syllabus?

Twenty-seven main topics.

Do I need to know specific musicians?

Yes. The syllabus lists African traditional, popular and art musicians, composers from the Western periods, and black musicians in the diaspora. You should be able to relate each to their music and contributions.

Does the syllabus cover technology?

Yes. Section D includes computer music software and an introduction to Artificial Intelligence in music technology.

Where can I get past questions for Music?

Click here

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