The JAMB Syllabus for Music 2026/2027 outlines the topics and musical concepts candidates are expected to study for the UTME Music examination. It serves as the official guide that defines the scope of examinable content and helps candidates prepare effectively without studying outside approved areas.
Music in JAMB focuses on music theory, music history, African and Western music traditions, musical instruments, and practical appreciation of sound. The UTME Music syllabus 2026/2027 is designed to test candidates’ understanding of musical elements, notation, rhythm, harmony, and cultural aspects of music.
Using the JAMB Music syllabus as a study guide allows candidates to organize their preparation, strengthen weak areas, and improve confidence ahead of the UTME.
Objectives of Music Syllabus
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:
- Appreciate and discuss the foundations of Music fairly and critically
- Identify the features of the music of different periods through written/aural analysis
- Investigate the Western and African music theory, history, peoples, forms and medium of performance (including instrumentation)
- Recognise the influence of socio-cultural and technological factors (including computer software application) on the lives and music of musicians
- Acquire a sound musical basis for further learning at the tertiary level
JAMB Syllabus for Music 2026
| S/N | TOPICS/CONTENTS/NOTES | JAMB EXPECTATIONS |
| 1 | SECTION A: RUDIMENTS OF MUSIC 1. The staff (a) Great staff (b) Ledger lines and spaces (c) Open score (vocal score) and (d) G clef (Treble), C clef (Alto, Tenor, etc) F clef (Bass). 2. Music Notes/Rests and their corresponding values. 3. 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. | Candidates should be able to: 1. identify all the components of the staff and their Uses. 2. determine the relative duration of Different notes and rests and their applications. 3. interpret varied rhythmic patterns; and 4. group and bar unbarred passage correctly. 5. ascertain names of the various degrees of the diatonic scales and keys; 6. identify simple scale passages with or without key-signature; and 7. differentiate between diatonic and chromatic scales |
| 2 | 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. | Candidates should be able to: 1. identify triads and their inversions in both major and minor; 2. compare types of triads; and 3. determine the use of triads. |
| 3 | 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, Iri ji (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. | Candidates should be able to: 1. identify various folksongs and their types; 2. define and compare their forms and features. 3. mention some characteristic features of vocal, scale and rhythmic styles in African music. 4. analyse the features and forms of Nigerian traditional music and the arts; 5. differentiate between the various types of festivals, dances, their origin; and 6. identify the relationship between music, dance and drama in African festivals. |
| 4 | SECTION D: HISTORY AND LITERATURE OF WESTERN MUSIC (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). (vi) 20th Century (1900-1999). 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, Igor Stravinsky, Arnold Schoenberg, Zoltan Kodaly, Claude Debussy, etc. | Candidates should be able to: 1. identify the various periods with dates from Medieval to 20th century period; and 2. trace the stages of the development of western musical practice from the medieval to the end of the 20th century period. 3. identify the composers; and 4. assess their contributions. |
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Frequently Asked Questions (FAQs)
QUES: What topics are covered in the JAMB Syllabus for Music 2026/2027?
ANS: The syllabus covers music theory, notation, rhythm, harmony, music history, African and Western music, and musical instruments.
QUES: Is music theory compulsory in UTME Music?
ANS: Yes. Music theory, including notes, scales, intervals, and chords, is a core part of the syllabus.
QUES: Does JAMB Music include African traditional music?
ANS: Yes. African music, its forms, instruments, and cultural significance are important areas of the syllabus.
QUES: Are Western classical composers included in the syllabus?
ANS: Yes. Candidates are expected to have basic knowledge of selected Western composers and musical periods.
QUES: Is practical performance tested in UTME Music?
ANS: No. The exam is objective-based, but questions test understanding of practical music concepts.
QUES: Are musical instruments tested in JAMB Music?
ANS: Yes. Candidates should understand types, functions, and classifications of musical instruments.
QUES: Does the syllabus include music appreciation?
ANS: Yes. Music appreciation tests candidates’ ability to understand and interpret musical sounds and styles.
QUES: Is music notation important for UTME Music?
ANS: Yes. Understanding staff notation, clefs, time signatures, and musical symbols is essential.
QUES: Can I pass JAMB Music without studying music history?
ANS: No. Music history provides context for musical styles and composers and is an important syllabus area.
QUES: What is the best way to prepare for UTME Music?
ANS: Candidates should study the syllabus carefully, revise music theory, understand African and Western music traditions, and practice past UTME questions.