The Na’vi have no indi­ge­nous musi­cal theo­ry; they do not ana­ly­ze or codi­fy their musi­cal crea­ti­ons. Like many abori­gi­nal cul­tures, they belie­ve that their music was given to them by Eywa, the gre­at spi­rit of Pan­do­ra. Songs come to the Na’vi through dreams, while wan­de­ring alo­ne, or while lin­ked with the con­scious­ness of Pan­do­ra through their queu­es. Na’vi do not claim owners­hip; the songs belong to all. 

After the estab­lish­ment of com­mu­ni­ca­ti­on with the Na’vi, Ter­ran rese­ar­chers came to the moon to obser­ve and inves­ti­ga­te Na’vi life. Xeno­mu­si­co­lo­gists came along on later excur­si­ons to Pan­do­ra and, through the ava­tars, began to ana­ly­ze the musi­cal per­for­man­ces, musi­cal instru­ments, song struc­tures, and musi­cal func­tion. What they found was in some ways typi­cal of Earth’s abori­gi­nal cul­tures (the pre­do­mi­nan­ce of vocal music and drums), but they also dis­co­ve­r­ed some signi­fi­cant dif­fe­ren­ces such as the use of nume­rous dif­fe­rent sca­le struc­tures, many dif­fe­rent tex­tures, and diver­gent yet simul­ta­ne­ous sin­ging styles. 

The Na’vi cate­go­riz­a­ti­on sys­tem groups songs by func­tion (domestic, per­so­nal, social, or ritu­al) and per­for­mer (men, women, child­ren, or all). 

The Na’vi do not ana­ly­ze their music; they just per­form it in the same man­ner that was given or taught to them. The theo­re­ti­cal infor­ma­ti­on given here is the result of obser­va­ti­on and ana­ly­sis by xeno­mu­si­co­lo­gists. The­re has been no con­fir­ma­ti­on of musi­cal theo­ries by the Na’vi them­sel­ves. Alt­hough they are high­ly crea­ti­ve in their approach to music, they do not reco­gni­ze any theo­re­ti­cal basis other than Eywa and are reluc­tant to dis­cuss their music with out­si­ders who do not See. An Earth-style musi­co­lo­gi­cal ana­ly­sis would make abso­lute­ly no sen­se to them, and they belie­ve the stu­dy of music to be a was­te of time. 

The three pri­ma­ry tex­tures heard in Na’vi music are uni­son (whe­ther solo or den­se), hete­ro­pho­ny, and melo­dy-and-dro­ne. Most social songs are sung in den­se uni­son by all Na’vi adults. Domestic songs are often per­for­med in hete­ro­pho­ny, best descri­bed in this case as over­lap­ping occur­ren­ces of the same melo­dy, sung star­ting at dif­fe­rent times, with occa­sio­nal sub­t­le dif­fe­ren­ces in pitch (but not sca­le step) and the rhythm. Melo­dy and dro­ne is perhaps the most inte­res­ting Na’vi tex­tu­re. To be more accu­ra­te, it is hete­ro­pho­ny (in the women’s voices) and a micro­to­nal­ly fluc­tua­ting dro­ne sung by the men. This is the typi­cal tex­tu­re of Na’vi ban­quet songs

Des­pi­te the com­ple­xi­ties of the vocal music, Na’vi rhyth­ms, cal­led kato, are rela­tively simp­le. Most of the rhyth­ms are dup­le (two or four beats to the bar) in natu­re, perhaps, as anthro­po­lo­gists posit, becau­se of the sym­metric natu­re of the Na’vi phy­sio­lo­gy. Dan­cing auto­ma­ti­cal­ly crea­tes a meter of two, with one strong pul­se and one weak pul­se. The majo­ri­ty of social songs are in a meter of two or four. 

Ritu­al songs in cele­bra­ti­on of the Kelut­ral and for mour­ning are sung in a meter of three. Xeno­mu­si­co­lo­gists who have inves­ti­ga­ted the cos­mo­lo­gy of the Na’vi belie­ve that this trip­le rhythm repres­ents the tri­lo­gy of Eywa, Kelut­ral, and the Na’vi. All songs begin and end on the first beat of the meter, which is the stron­gest and reflects the strength, shel­ter, and pro­vi­dence of Eywa. The third beat repres­ents Kelut­ral, which always leads the sin­ger back to the first beat, Eywa. The second beat, the wea­kest of the three, repres­ents the Na’vi them­sel­ves nest­led bet­ween Eywa and Kelut­ral and drawing strength from both.