Laura Boulton née Craytor (January 4, 1899 – October 16, 1980) was an American ethnomusicologist. She is known for the many field recordings, films and photographs of traditional music and its performances and practitioners from Egypt, the Sudan, Uganda, Kenya and Tanganyika. Boulton also collected traditional musical instruments around the world. In her work with the National Film Board of Canada (NFB) during the Second World War, she is recognized as being a pioneer for women who work in the film industry.

Laura Theresa Craytor was born in Conneaut, Ohio on January 4, 1899. She studied voice at Western Reserve University and obtained a B.A. degree from Denison University. In 1925, she married Wolfrid Rudyard Boulton, Jr., who was an ornithologist and lecturer at the Carnegie Museums of Pittsburgh in Pittsburgh, Pennsylvania, on the ornithological staff of which she served in the early 1920s.

In 1929 Boulton began graduate studies at the University of Chicago's anthropology department. In January 1929, Boulton began the first of a series of research expeditions which she was to accompany or lead over the next 50 years, and brought with her a cylinder recorder in order to record folk music as well as bird calls. This trip to Africa under the auspices of the American Museum of Natural History, which lasted approximately three months, allowed Boulton to collect musical instruments and recordings from the indigenous populations of Egypt, The Sudan, Uganda, Kenya and Tanganyika.

Over the next 50 years, Boulton participated in dozens of international expeditions, compiling extensive collections of field recordings, films, photographs, and musical instruments. Her autobiography, titled The Music Hunter documents these travels, but offers little additional information. As stated in The Music Hunter, Boulton's mission was, "To capture, absorb, and bring back the world's music; not the music of the concert hall or the opera house, but the music of the people ..."

Boulton visited and collected musical data and instruments from (in addition to the aforementioned localities) Mozambique, Nyasaland, Rhodesia, Transvaal, Cape Province, Sierra Leone, Liberia, Angola, Nigeria, Senegal, the Colony of Niger, Dahomey and other parts of French Equatorial Africa, the British Cameroons, the Belgian Congo, Ethiopia and Ghana.

Boulton was to publish many articles and films, and helped to produce a multitude of museum exhibits related to the artifacts and data she gathered during her research. She also presented a large number of illustrated educational lectures for students of music and anthropology at the University of Chicago's anthropology department.

In 1941, John Grierson, the head of the National Film Board of Canada contracted Boulton as a "freelancer" to make a series of films on Canadian cultural communities. Fellow women filmmakers also at the NFB like Judith Crawley was also hired on the same basis, while Evelyn Spice Cherry, Jane Smart and Gudrun Bjerring Parker were hired as permanent employees.

Although Boulton was originally only contracted for six weeks to make one film, her work at the NFB turned into a series called Peoples of Canada, consisting of 15 films. The goal of the wartime series was as a morale booster, that would "... broaden awareness of Canada's cultural mosaic, in order to create a feeling of national unity." Although Boulton had little film experience, she collaborated with a number of experienced cinematographers, including Judith Crawley.