(i) goge, kukuma, komo, kwamsa, kuntigi, lasha, molo, garaya, gurmi, etc. (iii) ekutu, teremagbe, ayeta-ode, odikakora, etc. (ii) oja, opi, pipilo, odu, nnuk,ofiom, akpele, etc. (i) kakaki, algaita, sarewa, pedete, obati, farai, kaho, imar, mongom, taluk, damalgo, etc. Ii.differentiate between the various types of festivals and dancesģ.INSTRUMENTS:Nigerian traditionalmusical instruments: I.analyse the features and forms of Nigerian traditionalmusic and the arts Masquerade, Koroso, Atilogwu, Ikperikpe (Wardance), Egedeege, Kwaghir, Agbon, Nkwa Umuagbogho, Bata, Bori, Swange, Dundun, Kokoma, Abigbo, Okonko, etc (ii) Dancesand other arts: Social, Ritual and Ceremonial 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. define and compare their forms and featuresĢ.General knowledge of the features and forms of Nigeriantraditional music andother arts. identify various folksongs and their types (iii) Metre/Rhythm: Metric and non-metric, polymetric, cross rhythm, syncopation, hemiola, polyrhythm, etc (ii) Scales/modes: tritonic, tetratonic, pentatonic, hexatonic etc, (i) Vocal styles:recitative, yodeling, ululation, incantation, heaving, whistling, etc. (b) Forms: call and response, strophic, through –composed, etc. (a) Types: cradle, folk-tales, games, war, satirical, dirges/funeral, historical, praise and worksong,etc. (b) Recognition of suitable answers to given musical phrasesĬandidates should be able toidentify suitable melody to given words, compatible and balanced (parallel or contrasting) phrases SECTION C: HISTORY AND LITERATURE OF AFRICAN MUSICġ.Nigerian folksongs, types, formsand characteristics. Simple diatonic modulations (using a single melodic line) from any given major key NOT exceeding two sharpsand two flats to any of its closely related keys (dominant and subdominant).Ĭandidates should be able to determine the key of a given melody and its modulation. (d) interrupted / deceptive / evaded / surprise cadenceĬandidates should be able to identify the various types of cadences in a musical scoreĥ.Non-harmonic tones/Non-chord tones identification and application of the following:Ĭandidates should be able to relate harmonic or non-harmonic tones to the chords with which they are associated. (b) Dominant 7th chord in root position only NOTE D: Primary triads are I, IV and V in major scales but i, iv and V in harmonic minor scalesĢ.(a)Basic chord progressions in four parts vocal style (SATB) in major keys NOT exceeding two sharps and two flats. (i) In any harmonic minor, minor triads are i and iv NOTE B:(i)In any major scale, major triads are I, IV and V(ii)minor triads are ii, iii and vi(iii)diminished triadis viio
(iv) augmented triads are indicated with capital numerals with a “+”, e.g III+ (iii) diminished triads are indicated with small Roman numerals with a “o” sign, e.g. I(ii)minor triads are indicated with small Roman numerals e.g. (i) major triads are indicated with capital Roman numerals e.g.
SECTION B: ELEMENTARY HARMONYġ.Triads and their inversions in major/minor keys, NOT exceeding two sharps and two flats. Ii.rewrite a music passage on a given stave. (b) Transposition using the treble (G) and bass (F) staves NOT exceeding two sharps and two flats Recognition of consonant and dissonant intervals.Ĭandidates should be able to determine different qualities of intervals (melodic and harmonic)ĭefinition of simple musical terms, signs and abbreviationsĬandidates should be able to interpret simple musical signs and terms.Ĩ.(a) Transcription of music from staff into tonic solfa notation and vice-versa. perfect unison, perfect 4th, perfect 5th, perfect 8ve), major/minor 2nd, 3rd, 6th and 7th, diminished 5th and augmented 4thĦb. Recognition of diatonic/ chromatic intervals and their inversions (e.g. Candidates should be able to identify the names of the white and black keys and their relationship, e.g.
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