As a folklorist and music historian she was especially interested in African and early American music. She collected songs in Mexico, the Virgin Islands, Puerto Rico, and Cuba, and was the first music scholar to direct public attention to Creole music. She contributed to Musical Quarterly, Musical Observer, Musical America, and Christian Science Monitor and for years edited a column on music and the arts for The Crisis, the journal of the National Association for the Advancement of Colored People.
After her marriage, she made her home in Boston and traveled in the East to give recitals and lectures. She participated in the artistic life of Boston and founded the Musical Art Studio to promote concerts and a little-theater movement in the black community. Antar, her play about an Arabian Negro poet, was staged in Boston under her direction in 1926. In 1927 she established the Allied Arts Center in Boston to nurture musically-inclined and artistically-inclined African American children. She was the author of Creole Songs (1921); The Message of the Trees (1918), a collection of poetry; and Norris Wright Cuney: A Tribune of the Black People (1913), a biography of her father. She is best remembered for the highly regarded Negro Musicians and Their Music (1936). She died in Boston on February 13, 1936, and was buried beside her parents in Lake View Cemetery, Galveston. Source
Note: Maud Cuney-Hare's grave is unmarked. She lies to the right of her father Norris Wright Cuney in the photo below.
29° 16.366, -094° 49.609
Lake View Cemetery