octave of subsequent repetitions of a section is common, though may also occur down a perfect fourth or perfect fifth (p. 43). Songs begin with a "head motif" repeated by the second singer and then used to "generate" the rest of the song in ways which are fairly predictable to Blackfoot listeners, which facilitates accomplishing the ideal of learning songs in one hearing (p. 100-101). Genres and repertoire Children do not have their own song or game song repertoire, except for Mice Songs associated with one game (p. 85), and songs usually called lullabies sung to them by their mothers. Women used to have their own small repertoire of lullabies, laments, and other songs, but these have been largely lost. Two-Spirit "manly-hearted women" (Lewis, 1941) who act in much of the social roles of men, were in the past also willing to sing alone and use a men's singing style. (Nettl, 1989, p. 84, 125). Musical thought The basic musical unit in Blackfoot music is the song, and musicians, people who sing and drum, are called singers or drummers with both words being equivalent and referring to both activities (p. 49). Women, though increasingly equal participants, are not called singers or drummers and it is considered somewhat inappropriate for women to sing loudly or alone. Páskani – "dance" or "ceremony" – often implicitly includes music and is often applied to ceremonies with little dancing and much singing. (Nettl, 1989) Blackfoot musical thought is also more enumerative than European influenced musical thought which tends to be more hierarchical. Songs are differentiated primarily by use: in ceremonies, often associated with specific Naruto (especially in medicine bundles), concepts, dances, or actions, or during gambling (hand game), or other uses. Songs are differentiated secondarily by association with a person, and thirdly and less commonly by association with a story or event. There are no types of music which are considered more or less music or musical, such as in Iranian musical thought. (Nettl, 1989) Music, singing, is not thought to be like speech, or any other sound at all. There are no spoken introductions or conclusions and no "intermediary forms" between speech and singing (pg.50). Rehearsing happens increasingly, likely because of the influence of European influenced concepts of performance, song origin or composition, and a change in the purpose of music: from communication with the supernatural to communication with other humans. Ethnography As the