This article is based on the fieldwork of the Tufuja tribe's Mayasvi ceremony in 2011, one of the most important ceremonies of the Tsou people in Alishan, Taiwan.The first section of this article is about the process of the Mayasvi ceremony, and it aims to compare the 2011 Mayasvi with the one held in 1989, as documented in Shan-Hua CHIEN's fieldwork. The main purpose of this section is to show the changes of process and music in Mayasvi during the past 20 years.The second section contains an analysis of Pasu-Mayasvi, the songs in Mayasvi, from the Tufuja tribeand is based on the organization of the research conducted by Shan-Hua CHIEN, Chung-Yung PU, and Cheng-Tsung CHENG. An analysis of the melody lines of 10 Mayasvi songs recorded in 2011 demonstrate two main features in the music. The first is no interruption between songs. The second is the entrance of different parts in one song, which shows the relationship and function among the different parts: the beginning, response, and ensemble. These two features are observed more clearly in the songs EHOI, EYAO, PEYASVI NO POHA'O, and PEYASVI NO MAYAHE, which are seen to have more sacred meaning than the other Mayasvi songs. From these observations, one can see that the characteristic of Mayasvi music is the poly-singing style with entrances of different parts sung by different groups.From the observation of the order of singers' positions, the distribution of parts, and the timing of the singing, one can also understand the hierarchy of power and status in Tsou society. Maysavi is not only a ceremony, but also a way to reconstruct and to strengthen the hierarchy of clans, the organization of traditional society, and the order of the whole tribe through these singing rituals.