Hmong Music
Compiled by Mark E. Pfeifer, PhD
Zhitao, B. et al. (2023). “Exploring Transboundary Spaces: A Comparison of Traditional Hmong Musical Identities in China and Thailand. “ The International Journal of Diverse Identities. 23(1): 1-18.
Catlin-Jairazbhoy, A. (2018). "Review and Guide to Hmong Songs of Memory: Traditional Secular and Sacred Hmong Music. Essays, Images, and Film." Hmong Studies Journal, 19(2): 1-15.
Falk, C. 2018). "Review of Musical Minorities: The Sounds of Hmong Ethnicity in Northern Vietnam." Hmong Studies Journal, 19(2): 1-9.
O' Briain, L. (2018). Musical Minorities: The Sounds of Hmong Ethnicity in Vietnam. London: Oxford U Press.
Falk, C. (2013). "Youtube and the Hmong Qeej." Hmong Studies Journal, 14: 1-64.
Poss, N. (2013). "'Reharmonizing' the Generations: Rap, Poetry, and Hmong Oral Tradition." In Diversity in Diaspora: Hmong Americans in the Twenty-First Century, M. Pfeifer, M. Chiu and K. Yang, Eds. Honolulu: University of Hawaii Press.
Ó Briain, L. (2012). "Singing as Social Life: Three Perspectives on Kwv Txhiaj from Vietnam." Hmong Studies
Journal, Vol 13(1).
O' Briain, L. (2012). Hmong music in northern Vietnam : identity, tradition and modernity. PhD Dissertation, University of Sheffield.
Poss, Nicholas. (2012). Hmong Music and Language Cognition: An Interdisciplinary Investigation. PhD
Dissertation, Ohio State University.
Thao, Yer J. (2006). “Culture and Knowledge of the Sacred Instrument Qeej in the Mong-American
Community.” Asian Folklore Studies 65(2): 249-267.
Poss, Nicholas. (2005). "The Communication of Verbal Content on the Hmong Raj: An Ethnographic Analysis of
Performance Practice." Masters thesis, The Ohio State University, Columbus.
Schein, Louisa. (2004). "Homeland Beauty: Transnational Longing and Hmong American Video." The Journal of
Asian Studies 63(2): 433-463.
Vietnam Hmong: The Art of Attraction (2004). France: Playasound.
Falk, Catherine.(2004). "The dragon taught us: Hmong stories about the origin of the free reed pipes qeej."
Journal of Asian Music, 35 (1), 2003/ 2004, pp17-56;
Falk, Catherine. (2004). "If you have good knowledge, close it well tight": concealed and framed meaning in the
funeral music of the Hmong qeej" British Journal of Ethnomusicology 12 (ii) 2003, pp1-33.
Falk, Catherine. (2004). "Hmong Instructions to the Dead: What the qeej says in the Qeej Tu Siav". Part 1. Asian
Folklore Studies 63 (1) 2004
Falk, Catherine. (2004). "Hmong Instructions to the Dead: What the qeej says in the Qeej Tu Siav". Part 2. Asian
Folklore Studies 63 (2) 2004
Falk, Catherine. (2004). "The private and public lives of the Hmong qeej or Miao lusheng." In Nicholas Tapp, ed.
Changing Cultural Contexts: representations of the Hmong. Canberra, ACT : Pandanus Press. 2004
Cooper, Robert (Editor) (1998). The Hmong: A guide to traditional lifestyles . Singapore: Times Editions.
Morrison, G. (1998). “The Hmong Qeej: Speaking to the Spirit World.” Hmong Studies Journal 2(2): 1-12.
Catlin, A. (1997). “Puzzling the text: Thought-songs, secret languages, and archaic tones in Hmong music.” World
of Music 39(2): 69-81.
Hmong Musicians in America: Interactions with Three Generations of Hmong Americans. (Video) (1996). Valley
Glen, CA: Aspara Media for Intercultural Education.
Moua, B.X. (1996). Boua Xou Moua. The Music of the Hmong People of Laos. (Music CD). Dallas, TX:
Documentary Arts Inc.
Thao, H. (1995). Hmong Music in Vietnam. Special Issue of Nhac Viet, the Journal of Vietnamese Music, Volume 4,
Number 2, Fall 1995.
Lewis, Judith. (1993). "Hmong Visual, Oral, and Social Design: Innovation within a Frame of the Familiar." Master’s
thesis, California State University, Sacramento.
Caitlin, A. (1992). “Homo Cantens: Why Hmong Sing During Interactive Courtship Rituals.” Selected Reports in
Ethnomusicology 9 (1992): 43-60.
England, S.R. (1992). An Integrated Approach: Combining Elements of Hmong Culture and Music Learning
Activities for the Primary Student. Master’s Thesis, University of Saint Thomas (St. Paul, MN).
Shyr, Y.K. (1989). “The Polyphonic Songs of the Miao People in China: A Structural Analysis.” Chinese Music 12
(March 1989): 5-13.
Shyr, Y.K. (1989). “The Polyphonic Songs of the Miao People in China: A Structural Analysis, II.” Chinese Music 12
(March 1989): 27-31.
Liang, Y. (1987). “Miao Dances.” In Flying Dragon and Dancing Phoenix: An Introduction to Selected Chinese
Minority Folk Dances, edited by W. Chen, L. Ji and W. Ma, 80-93. Beijing: New World Press, 1987.
Caitlin, A. (1986). “The Hmong and Their Music…A Critique of Pure Speech.” In Hmong Art: Tradition and Change,
11-18. Sheboygan, WI: John Michael Kohler Arts Center.
John Michael Kohler Arts Center. (1986). Hmong Art: Tradition and Change. Sheboygan, WI: John Michael Kohler
Arts Center.
Johns, B. (1986). "An Introduction to White Hmong Sung Poetry." In The Hmong World, Editors, Brenda Johns and
David Strecker, New Haven, CT: Council on Southeast Asia Studies, pp. 5-11.
McNamer, M. (1986). "Musical Change and Change in Music: Implications for Hmong Identity." In The Hmong
World, Editors, Brenda Johns and David Strecker, New Haven, CT: Council on Southeast Asia Studies, pp. 137-
163.
Willcox, D. (1986). Hmong Folklife. Hmong Natural Association of North Carolina.
Catlin, Amy (1981). Music of the Hmong: Singing Voices and Talking Reeds. Providence, R.I.: Center for Hmong
Lore.
Mottin, J. (1980). 55 Chants D’Amour Hmong Blanc. Bangkok: Don Bosco Press.
Mareschal, Eric [1970]. La musique des Hmong. Chez l’auteur: 18, Boul. Edgar Quinet. 75014. Paris.
Beauclair, Inez de (1955) Review of Songs and Stories of the Ch’uan Miao by David Crockett Graham. Far Eastern
Quarterly 15:289-290.
Graham, David Crockett (1954). Songs and Stories of the Ch’uan Miao. Washington D.C.: The Smithsonian
Institution, publication no. 4139. [T507 Sm6m v. 123]
Lui Chung Shee Hsien (1934). Sur un instrument musical a anche libre en usage chez les Miao de la Chine du
Sud. L’Ethnographie 28-29:27-34.
Compiled by Mark E. Pfeifer, PhD
Zhitao, B. et al. (2023). “Exploring Transboundary Spaces: A Comparison of Traditional Hmong Musical Identities in China and Thailand. “ The International Journal of Diverse Identities. 23(1): 1-18.
Catlin-Jairazbhoy, A. (2018). "Review and Guide to Hmong Songs of Memory: Traditional Secular and Sacred Hmong Music. Essays, Images, and Film." Hmong Studies Journal, 19(2): 1-15.
Falk, C. 2018). "Review of Musical Minorities: The Sounds of Hmong Ethnicity in Northern Vietnam." Hmong Studies Journal, 19(2): 1-9.
O' Briain, L. (2018). Musical Minorities: The Sounds of Hmong Ethnicity in Vietnam. London: Oxford U Press.
Falk, C. (2013). "Youtube and the Hmong Qeej." Hmong Studies Journal, 14: 1-64.
Poss, N. (2013). "'Reharmonizing' the Generations: Rap, Poetry, and Hmong Oral Tradition." In Diversity in Diaspora: Hmong Americans in the Twenty-First Century, M. Pfeifer, M. Chiu and K. Yang, Eds. Honolulu: University of Hawaii Press.
Ó Briain, L. (2012). "Singing as Social Life: Three Perspectives on Kwv Txhiaj from Vietnam." Hmong Studies
Journal, Vol 13(1).
O' Briain, L. (2012). Hmong music in northern Vietnam : identity, tradition and modernity. PhD Dissertation, University of Sheffield.
Poss, Nicholas. (2012). Hmong Music and Language Cognition: An Interdisciplinary Investigation. PhD
Dissertation, Ohio State University.
Thao, Yer J. (2006). “Culture and Knowledge of the Sacred Instrument Qeej in the Mong-American
Community.” Asian Folklore Studies 65(2): 249-267.
Poss, Nicholas. (2005). "The Communication of Verbal Content on the Hmong Raj: An Ethnographic Analysis of
Performance Practice." Masters thesis, The Ohio State University, Columbus.
Schein, Louisa. (2004). "Homeland Beauty: Transnational Longing and Hmong American Video." The Journal of
Asian Studies 63(2): 433-463.
Vietnam Hmong: The Art of Attraction (2004). France: Playasound.
Falk, Catherine.(2004). "The dragon taught us: Hmong stories about the origin of the free reed pipes qeej."
Journal of Asian Music, 35 (1), 2003/ 2004, pp17-56;
Falk, Catherine. (2004). "If you have good knowledge, close it well tight": concealed and framed meaning in the
funeral music of the Hmong qeej" British Journal of Ethnomusicology 12 (ii) 2003, pp1-33.
Falk, Catherine. (2004). "Hmong Instructions to the Dead: What the qeej says in the Qeej Tu Siav". Part 1. Asian
Folklore Studies 63 (1) 2004
Falk, Catherine. (2004). "Hmong Instructions to the Dead: What the qeej says in the Qeej Tu Siav". Part 2. Asian
Folklore Studies 63 (2) 2004
Falk, Catherine. (2004). "The private and public lives of the Hmong qeej or Miao lusheng." In Nicholas Tapp, ed.
Changing Cultural Contexts: representations of the Hmong. Canberra, ACT : Pandanus Press. 2004
Cooper, Robert (Editor) (1998). The Hmong: A guide to traditional lifestyles . Singapore: Times Editions.
Morrison, G. (1998). “The Hmong Qeej: Speaking to the Spirit World.” Hmong Studies Journal 2(2): 1-12.
Catlin, A. (1997). “Puzzling the text: Thought-songs, secret languages, and archaic tones in Hmong music.” World
of Music 39(2): 69-81.
Hmong Musicians in America: Interactions with Three Generations of Hmong Americans. (Video) (1996). Valley
Glen, CA: Aspara Media for Intercultural Education.
Moua, B.X. (1996). Boua Xou Moua. The Music of the Hmong People of Laos. (Music CD). Dallas, TX:
Documentary Arts Inc.
Thao, H. (1995). Hmong Music in Vietnam. Special Issue of Nhac Viet, the Journal of Vietnamese Music, Volume 4,
Number 2, Fall 1995.
Lewis, Judith. (1993). "Hmong Visual, Oral, and Social Design: Innovation within a Frame of the Familiar." Master’s
thesis, California State University, Sacramento.
Caitlin, A. (1992). “Homo Cantens: Why Hmong Sing During Interactive Courtship Rituals.” Selected Reports in
Ethnomusicology 9 (1992): 43-60.
England, S.R. (1992). An Integrated Approach: Combining Elements of Hmong Culture and Music Learning
Activities for the Primary Student. Master’s Thesis, University of Saint Thomas (St. Paul, MN).
Shyr, Y.K. (1989). “The Polyphonic Songs of the Miao People in China: A Structural Analysis.” Chinese Music 12
(March 1989): 5-13.
Shyr, Y.K. (1989). “The Polyphonic Songs of the Miao People in China: A Structural Analysis, II.” Chinese Music 12
(March 1989): 27-31.
Liang, Y. (1987). “Miao Dances.” In Flying Dragon and Dancing Phoenix: An Introduction to Selected Chinese
Minority Folk Dances, edited by W. Chen, L. Ji and W. Ma, 80-93. Beijing: New World Press, 1987.
Caitlin, A. (1986). “The Hmong and Their Music…A Critique of Pure Speech.” In Hmong Art: Tradition and Change,
11-18. Sheboygan, WI: John Michael Kohler Arts Center.
John Michael Kohler Arts Center. (1986). Hmong Art: Tradition and Change. Sheboygan, WI: John Michael Kohler
Arts Center.
Johns, B. (1986). "An Introduction to White Hmong Sung Poetry." In The Hmong World, Editors, Brenda Johns and
David Strecker, New Haven, CT: Council on Southeast Asia Studies, pp. 5-11.
McNamer, M. (1986). "Musical Change and Change in Music: Implications for Hmong Identity." In The Hmong
World, Editors, Brenda Johns and David Strecker, New Haven, CT: Council on Southeast Asia Studies, pp. 137-
163.
Willcox, D. (1986). Hmong Folklife. Hmong Natural Association of North Carolina.
Catlin, Amy (1981). Music of the Hmong: Singing Voices and Talking Reeds. Providence, R.I.: Center for Hmong
Lore.
Mottin, J. (1980). 55 Chants D’Amour Hmong Blanc. Bangkok: Don Bosco Press.
Mareschal, Eric [1970]. La musique des Hmong. Chez l’auteur: 18, Boul. Edgar Quinet. 75014. Paris.
Beauclair, Inez de (1955) Review of Songs and Stories of the Ch’uan Miao by David Crockett Graham. Far Eastern
Quarterly 15:289-290.
Graham, David Crockett (1954). Songs and Stories of the Ch’uan Miao. Washington D.C.: The Smithsonian
Institution, publication no. 4139. [T507 Sm6m v. 123]
Lui Chung Shee Hsien (1934). Sur un instrument musical a anche libre en usage chez les Miao de la Chine du
Sud. L’Ethnographie 28-29:27-34.
