JAMB CBT 2025 Music Syllabus is Out: Get Ready to Excel in UTME
Are you preparing for the 2025 Unified Tertiary Matriculation Examination (UTME)? Great news! The official 2025 JAMB CBT syllabus has been released, and you’re at the right place to get all the details you need to succeed. This syllabus is your ultimate guide to understanding each subject’s topics, objectives, and expectations.
OBJECTIVES OF JAMB CBT 2025 MUSIC SYLLABUS
1. appreciate and discuss music fairly and critically;
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;
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
RECOMMENDED TEXTS
Adesipe E.A. (2021). Nigerian Festivals and Traditional Instruments, Amazon-Kindle Direct Publications.
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 and Publishing 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.
I.T. Mensah (1990). Understanding Music, Books 1-3 by Africana-Fep Publishers Limited Bamenda, NW Province Cameroon.
Osunniyi J.A. (1994). An Easy Way to Learning Music, Jac-Ola Printing Press Lagos
WHY YOU NEED JAMB MUSIC SYLLABUS
If you’re preparing for the 2025 JAMB Music exam, having the official syllabus is essential for your success. Here’s why:
1. Know Exactly What to Study
The JAMB Music syllabus outlines all the topics that will be tested, so you can focus on the right areas without wasting time on irrelevant content.
2. Understand the Exam Format
By studying the syllabus, you’ll know the structure of the Music exam, the types of questions to expect, and the skills required to perform well.
3. Set Clear Study Goals
Each topic in the syllabus comes with specific objectives, helping you track your progress and stay organized while preparing.
4. Access the Right Study Materials
The syllabus provides a list of recommended textbooks and resources that align with the JAMB Music exam, ensuring you study from trusted sources.
5. Improve Your Performance
Music is not just about theory; it involves practical understanding of rhythm, melody, harmony, and composition. The syllabus helps you develop these essential skills.
6. Boost Your Confidence
Since JAMB sets questions strictly based on the syllabus, studying it will give you the confidence to answer questions accurately and score higher.
7. Study Smarter, Not Harder
With a clear syllabus, you avoid distractions and study only what is necessary, saving time and effort.
Don’t Just Study—Study with a Plan!
Use the official JAMB Music syllabus to prepare effectively and maximize your chances of excelling in the 2025 UTME.
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DETAILED 2025/2026 MUSIC JAMB SYLLABUS
SECTION A: RUDIMENTS OF MUSIC
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.
2. Music Notes/Rests and their corresponding
values.
3. Time/Time signature:
(simple and compound time signatures), the
correct grouping of notes and barring of
unbarred passages.
4. A – Key signatures and scales:
(i) technical names of the various degrees
of the scale
(ii) diatonic major/minor (natural, harmonic
and melodic)
(iii) chromatic scales
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
equivalents
(b) Accidentals
6. Intervals:
6a. Recognition of diatonic / chromatic
intervals and their inversions (e.g. perfect
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.
7. Definition of simple musical terms, signs and
abbreviations.
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.
SECTION B: ELEMENTARY HARMONY
1. Triads and their inversions in major/minor
keys, 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. ii
(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 III+
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
(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.
2. (a) Basic chord progressions in four parts
vocal style (SATB) in major keys NOT
exceeding two sharps and two flats.
(b) Dominant 7th chord in root position only
3. Kinds of motion;
Parallel, Similar, Contrary and Oblique
4. Cadences in major keys NOT exceeding two
sharps and two flats.
(a) perfect / full close cadence
(b) imperfect / half close / semi cadence
(c) plagal / Amen cadence
(d) interrupted / deceptive / evaded / surprise
cadence.
5. Non-harmonic tones / Non-chord tones;
identification and application of the following:
(a) neighbouring tones / auxiliary notes
(b) passing tones / notes
6. MODULATION
Simple diatonic modulations (using a single
melodic line) from any given major key NOT
exceeding two sharps and two flats to any of its
closely related keys (dominant and
subdominant).
7. Elementary Composition
(a) Setting of words to written melody
(b) Recognition of suitable answers to given
musical phrases
SECTION C: HISTORY AND LITERATURE OF AFRICAN MUSIC
1. Nigerian folksongs, types, forms and
characteristics.
(a) Types: cradle, folk-tales, games, war,
satirical, dirges / funeral, historical, praise and
worksong, etc.
(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
2. General knowledge of the features and forms of
Nigerian traditional music and other arts
(i) Festivals: e.g. Osun, Ifa, Ogun, Ekpo,
Ofala, Iriji (New Yam Festival), Ovia
Osese, Mmanwu (Masquerade), Ila-Oso,
Argungu (Fishing), Eyo/Adamu-Orisa,
Gelede, etc.
(ii) Dances and other arts: Social, Ritual and
Ceremonial e.g. Masquerade, Koroso,
Atilogwu, Ikperikpe (War dance),
Egedeege, Kwaghir, Agbon, Nkwa
Umuagbogho, Bata, Bori, Swange,
Dundun, Kokoma, Abigbo, Okonko, etc.
3. INSTRUMENTS
Nigerian traditional musical instruments:
CLASSIFICATIONS
(i) kakaki, algaita, sarewa, pedete, obati,
farai, kaho, imar, mongom, taluk,
damalgo, etc.
(ii) oja, opi, pipilo, udu, 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, gangan, etc
4. Knowledge of the lives and music of the
following African traditional 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 Uji, etc.
(ii) Ezigbo Obiligbo, Seven-Seven, Morocco
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.
B. OTHER AFRICANS
Vinoko Akpalu, Daniel Amponsah (alias
koo Nimo), Efua Basa, Kwaa Mensah etc.
5. Evolution and Development of African Popular
Music:
Highlife, Juju, Afro-beat, Fuji, Apala, Reggae,
Makosa, Ikwokirikwo, Okukuseku, Ekassa,
Akuko na egwu, Awurebe, Waka, Hiplife, Hiphop, etc.
6. Knowledge of the lives and music of the
following African Popular Musicians.
A. 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, PSquare, Djnee, 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, 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.
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, 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
Amu, C.K. Adom, A.A. Mensah, C.W.K.
Mereku, etc
SECTION D: HISTORY AND LITERATURE OF WESTERN MUSIC
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).
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
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 and
classifications
(iii) The human voice (its types, ranges and
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.
(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
(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, 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.
2. Forms to be examined include spirituals, gospel
music, jazz, rhythm and blues, soul, calypso,
rock ‘n’ roll, reggae, afro-beat, tango, rap,
chachacha, bolero, twist, hip-hop, etc.
3. The spirit of nationalism in Nigerian music.
CONCLUSION
excelling in the 2025 JAMB Music exam requires strategic preparation, and the official syllabus serves as your roadmap to success. By focusing on the outlined topics, using recommended study materials, and practicing with real CBT-style questions, you can boost your confidence and performance.
For the best preparation, take advantage of the ExamScholars CBT App, which provides JAMB-standard questions, instant explanations, real-time performance tracking, and offline access. Don’t just read—practice smartly and increase your chances of scoring above 300!
Start preparing today! Download the ExamScholars App and take your JAMB Music preparation to the next level.
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