Criton became interested into ethnomusicology as well, taking part in the activities of the "Groupe de Recherche sur la Tradition Orale" (Abidjan 1979).

Her works are created in France and abroad: Darmstadt, American Festival of Microtonal Music (New York), Ircam, Radio France, Manca, Today Musics, Midem, Presences, Intermusica, Ars Electronica, Ijsbrecker Institute, Archipelago Festival, Ilkhom XX (Tashkent), Simn (Bucharest).

[1] Since the early 80s, she has investigated the microvariability of the sound and she dedicated her instrumental composition to microtonal tuned instruments (pianos, microtonal guitares, strings tuned in 1/4, 1/8, 1/12, 1/16 tone) which it is most of the time associated with diatonic instruments as well as to the Audio synthesis Her aesthetic and intellectual approach of the music is strongly linked to the thought of philosopher Gilles Deleuze she met in 1987.

The interval of two or three 1/16 tone is very small and is barely recognisable by the ear,[2] but it affects the perception of timbre, rhythm, the feeling of time.

Criton takes advantage of this property to create subtle shifting of notes, giving rise to progressive but imperceptible change of musical texture.