音樂是一門時間的藝術，聲音是一種流動的過程。在這逝去即不再復返的音樂聲響中，人們除了藉着不斷的覆頌，讓樂音以類似的時間流程一再循環展現，用以記憶音樂本體，賽夏族人更在歌謠中，建構了讓時間可以疊置的方式，以記憶歌謠。此種疊置的方式，除了呈現在族人最重要的音樂種類：矮靈祭（paSta’ay）歌之中，同時也出現在非祭歌的部分。矮靈祭歌中，歌詞會以1212/2323/3434...、1212/233/344... 或12/23/34..（. 每一個阿拉伯數字代表一句歌詞）等方式疊置呈現。非祭歌中，則除了有與祭歌相同的疊置方式，更有將前一句的後方詞彙，放置在後一句的前方（頂真唱法），或者在歌謠開始與結束之處，出現相同歌詞的堆疊等，其疊置方式，甚至比矮靈祭歌更為複雜而多樣。如此的歌唱方式，讓本來有如一條直線般的歌詞意義，因疊置而顯得迂迴。透過這種迂迴，歌者在新的歌詞樂句喚醒上，則爭取到了更多的時間。
使歌詞的時間疊置，成為延展喚醒記憶時間的契機。

Music is an art of timing; sound is a fluid process. Once it has
been played, music cannot be recalled. Because of this fleeting nature,
musicians must use repetition to make music flow continuously like time.
Using memory music, the Saysiyat People have constructed a music form
that seems to allows time to repeat itself. This helps them to remember the music. This method appears not only in their most important music, the
paSta’ay dwarfs’ ceremony song, but also appears in non-ceremonial songs.
In the paSta’ay dwarfs’ ceremony song, lyrics appear in the form of
1212/2323/3434..., 1212/233/344..., or 12/23/34..., etc. (Every number
represents a line.) This is one type of repetition used in Saysiyat music. Nonceremonial music has an additional two repetition methods. The last words of the previous line are placed at the beginning of the following line and the song is begun and ended in a repeating fashion. These three repeating methods make non-ceremonial music more complex and diverse than the paSta’ay songs.The methods mentioned above allow relatively simple and straightforward lyrics to appear circular. Because of this circular way, the singer has more time to rouse up the next line. The circularity of the music also provides an opportunity for the repeating lines to create new memories in the audience.