One exception to the vocal nature of Maasai music is the use of the horn

Maasai music traditionally consists of rhythms provided by a chorus of vocalists singing harmonies while a song leader, or olaranyani, sings the melody. The olaranyani is usually the singer who can best sing that song, although several individuals may lead a song. The olaranyani begins by singing a line or title (namba) of a
song. The group will respond with one unanimous call in acknowledgment, and the olaranyani will sing a verse over the group's rhythmic throat singing. Each song has its specific namba structure based on call-and-response. Common rhythms are variations of 5/4, 6/4 and 3/4 time signatures. Lyrics follow a typical theme and are often repeated verbatim over time. Neck movements accompany singing. When breathing out the head is leaned forward. The head is tilted back for an inward breath. Overall the effect is one of polyphonic syncopation. Unlike most other African tribes, Maasai widely use drone polyphony.

Women chant lullabies, humming songs, and songs praising their sons. Nambas, the call-and-response pattern, repetition of nonsense phrases, monophonic melodies repeated phrases following each verse being sung on a descending scale, and singers responding to their own verses are characteristic of singing by females. When many Maasai women gather together, they sing and dance among themselves.

One exception to the vocal nature of Maasai music is the use of the horn of the Greater Kudu to summon morans for the Eunoto ceremony.

Both singing and dancing sometimes occur around manyattas, and involve flirting. Young men will form a line and chant rhythmically, "Oooooh-yah", with a growl and staccato cough along with the thrust and withdrawal of their lower bodies. Girls stand in front of the men and make the same pelvis lunges while singing a high dying fall of "Oiiiyo..yo" in counterpoint to the men. Although bodies come in close proximity, they do not touch.
Maasai dance

Eunoto, the coming of age ceremony of the warrior, can involve ten or more days of singing, dancing and ritual. The warriors of the Il-Oodokilani perform a kind of march-past as well as the adumu, or aigus, sometimes referred as "the jumping dance" by non-Maasai. (both adumu and aigus are Maa verbs meaning "to jump" with adumu meaning "To jump up and down in a dance") Warriors are well known for, and often photographed during, this competitive jumping. A circle is formed by the warriors, and one or two at a time will enter the center to begin jumping while maintaining a narrow posture, never letting their heels touch the ground. Members of the group may raise the pitch of their voices based on the height of the jump.

The girlfriends of the moran (intoyie) parade themselves in their most spectacular costumes as part of the eunoto. The mothers of the moran sing and dance in tribute to the courage and daring of their sons.