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Maud Cuney Hare (''née'' Cuney, February 16, 1874–February 13〔 or 14,〔 1936) was an American pianist, musicologist, writer, and African-American activist in Boston, Massachusetts in the United States. She was born in Galveston, the daughter of famed civil rights leader Norris Wright Cuney, who led the Texas Republican Party during and after the Reconstruction Era. In 1913 she published a biography of her father. Essentially part of the second generation after emancipation, Cuney Hare studied at the New England Conservatory of Music in Boston and became an accomplished pianist. She lived in Jamaica Plain, a neighborhood of Boston, most of her adult life. A musicologist, she collected music from across the South and Caribbean in her study of folklore, and was the first to study Creole music. She is most remembered for her final work, ''Negro Musicians and Their Music'' (1936), which documents the development of African-American music. 〔 ==Early life and education== Maud was born in Galveston, Texas to Adelina Dowdy (or Dowdie) and Norris Wright Cuney on February 16, 1874. Both parents were of mixed race. Her mother, one of the "handsome Dowdy girls" came from Woodville, Mississippi. Her father's heritage was Indian, African, and Swiss-American. They were part of a large and well-off extended family:〔 Norris Cuney was one of eight acknowledged and manumitted children of Gen. Philip Minor Cuny by his (later manumitted) slave housekeeper, Adeline Stuart. Norris also had eight half-siblings, three born to the General's second wife, Eliza Ware Cuny, and five to his third wife, Adaline Spurlock Cuny.〔 Norris Wright Cuney, Maud's father, was an established leader in the Texas Republican Party. He served in the Customs Office and later became Collector of Customs for the port.〔(Maud Cuney Hare papers, 1843-1936 ), Robert W. Woodruff Library of the Atlanta University Center, Inc.〕 He established a business of stevedore workers, employing about 500 men on the docks.〔 Norris Wright Cuney sang and played the violin;〔 Adelina Dowdy Cuney was a soprano singer and played the piano.〔 Maud and her brother Lloyd grew up in a house filled with music and literature.〔 After completing school at Galveston's Central High School in 1890, Maud Cuney went to Boston to study at the New England Conservatory of Music. There she studied piano with Edwin Klahre and music theory with Martin Roeder.〔 She also studied at Harvard's Lowell Institute of Literature.〔 When white students learned that Maud Cuney and another African American, Florida L. Des Verney, were living in a campus dormitory, some of them tried to have the young women excluded. Fearing financial pressure from white southern families, the Conservatory requested that the women find other lodgings, implying that their safety could not be guaranteed. Maud Cuney told the school that she refused to move. Her father also refused to move her, criticizing the school for dishonouring "the noble men and women" of Massachusetts who had fought against prejudice. Members of the Boston black community spoke out against the Conservatory, as did black students, including Cambridge student W.E.B. Du Bois. The Colored National League took up the issue, and the Conservatory eventually reversed its position. Though Des Verney moved away, Maud Cuney stayed.〔 She later wrote "I refused to leave the dormitory, and because of this, was subjected to many petty indignities. I insisted upon proper treatment."〔 Boston had a vibrant black community. While studying in Boston, Cuney became part of the Charles Street Circle (or West End Set), meeting at the home of Josephine St. Pierre Ruffin.〔 She became a close friend of W. E. B. Du Bois, who was based in Massachusetts for a time, and they were briefly engaged.〔 Du Bois described Maud vividly as "a tall, imperious brunette, with gold-bronze skin, brilliant eyes and coils of black hair."〔 After graduating from the conservatory, Cuney returned to Texas, studying privately with pianist Emil Ludwig〔 in Austin, and teaching at the Texas Deaf, Dumb, and Blind Institute for Colored Youths in 1897 and 1898. She again chose to oppose racial prejudice when management of the Austin Opera House demanded that Negroes in the audience coming to her performance must be segregated and seated in the balconies. She and Emil Ludwig cancelled the planned concert and performed instead at the Texas Deaf, Dumb, and Blind Institute, where no distinction of color was applied.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Maud Cuney Hare」の詳細全文を読む スポンサード リンク
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