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

Candidates should be able to identify all the components of the staff and their application.

Candidates should be able to determine the relative duration of different notes and rests.

Candidates should be able to interpret varied rhythmic patterns.

Candidates should be able to:

i.        Ascertain names of the various degrees of         the diatonic scales.

ii.      Identify simple scale passages with or         without key signature.

Candidates should be able to identify the names of the white and black keys and their relationship, e.g.

(C sharp =         = B^x).

6a. Recognition of diatonic / chromatic  intervals and their inversions (e.g. perfect unison, perfect 4^th, perfect 5^th, perfect 8ve), major/minor 2^nd, 3^rd, 6^th and 7^th, diminished 5^th and augmented 4^th

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. vii^o

(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 vii^o

               NOTE C:

(i)      In any harmonic minor, minor triads are i  and iv

(ii)    major triads are V and VI

(iii)  diminished triads are ii^o and vii^o

(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 interpret simple musical signs and terms.

Candidates should be able to:

i.        read music in any given notation.

ii.      rewrite a music passage on a given stave.

Candidates should be able to: i. identify triads; ii. compare types of triads; iii. determine the use of triads.

(b) Dominant 7^th 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, etc.

(c)     Characteristics:

(i) Vocal styles: recitative, yodeling,       ululation, incantation, heaving,               whistling, etc.

(ii)Scales/modes:         tritonic, tetratonic,          pentatonic, hexatonic etc.

(iii) Metre/Rhythm: Metric and non-metric,  polymetric, cross rhythm, syncopation,  hemiola, polyrhythm, etc.

i.         determine the basic chord progressions in a music passage.

ii.       recognize the dominant 7^th chord.

Candidates should be able to identify the various kinds of motion in a musical passage.

Candidates should be able to identify the various types of cadences in a musical score.

Candidates should be able to relate harmonic or nonharmonic tones to the chords with which they are associated.

Candidates should be able to determine the key of a given melody and its modulation.

Candidates should be able to identify suitable melody to given words, compatible and balanced (parallel or contrasting) phrases.

Candidates should be able to:

i.              identify various folksongs and their types; ii. define and compare their forms and features.

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.

3.       INSTRUMENTS:

Nigerian traditional musical instruments:

CLASSIFICATIONS:

(a)     Aerophones:

(i)      kakaki, algaita, sarewa, pedete, obati,  farai, kaho, imar, mongom, taluk,  damalgo, etc.

(ii)    oja, opi, pipilo, odu, 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, agidigbo, gangan, etc.

Candidates should be able to:

i.        analyse the features and forms of Nigerian

traditional music and the arts;

ii.      differentiate between the various types of festivals and dances.

Candidates should be able to:

i.        differentiate between the various types and classes of musical instruments;

ii.      classify them into their categories.

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 Uje, 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, Afro-beat, Fuji, Apala, Reggae, Makosa, Ikwokirikwo, Okukuseku, Ekassa,

Akuko na egwu, Awurebe, Waka, Hiplife,

Hip-hop, Juju 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.

Candidates should be able to:

i.        identify different groups to which various musicians belong;

ii.      trace their biographies; iii. analyse their musical styles; iv. assess their contributions to the music industry.

Candidates should be able to:

i. differentiate one musical genre from another; ii. examine their influence on society.

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.

                 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)

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.

Candidates should be able to trace the stages of the development of western musical practice from the medieval to the end of the romantic period.

Candidates should be able to: i. identify the composers; ii. assess their contributions.

Candidates should be able to:

i.         identify the general forms and various types of instruments in Western music.

ii.       relate music to modern technology.

(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 negro spiritual, 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.

Candidates should be able to:

i. identify the musicians in the diaspora; ii. assess their musical influence on the global society.

Candidates should be able to:

i.              identify the various forms of musical genres; ii. trace the origins of the musical genres.

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;

ii.      assess their roles in Nigerian nationalism.