Born in 1953 in Anniston, Alabama, John Craton 
hails from an extended family of musicians, including both professionals and 
amateurs. His own career began on the violin at the age of ten, and he began 
studying piano at fourteen. He made his first feeble attempts at composing at 
age eleven. Craton demonstrated rapid advancement on both violin and piano and 
was playing in the Jacksonville State University String Orchestra while still in 
high school. He studied violin under the late concert violinist Robert Louis 
Barron and John Maltese; piano under Louis Culver and Ouida Susie Francis; and 
music theory and composition under Gerald Moore and Henry Fusner. He began 
accepting private students in 1971 and has taught both violin and piano in 
Alabama, Tennessee, and Indiana. He received his B.A. from Lipscomb University 
in Nashville, Tennessee, and his M.A. from Indiana University, Bloomington. 
Craton has played violin in the Jacksonville State 
University String Orchestra and String Trio, and piano with the JSU Woodwind 
Quintet. He also played violin, rebec, viola da gamba, and recorder with the 
Lipscomb University Early Music Consort and maintains an active interest in 
early music to this day. In 1973 he appeared in the Henry Fusner production of 
The Play of Daniel on rebec (a medieval ancestor of the violin). He 
briefly played second violin in the now-defunct Helen Fowler String Quartet of 
Indianapolis. Craton has appeared in numerous other recitals in Alabama, 
Tennessee, and Indiana, both as soloist and as accompanist. Due to a hand injury 
in 2002, he was forced to abandon any hope of further public performance. Since 
that time he has dedicated himself to teaching and composing. He currently 
resides in Indiana with his wife and three sons. 
Craton’s music has been performed by such artists 
and ensembles as Sebastiaan de Grebber, Lester Turner, John Tabler, Ferdinand 
Binnendijk, Het CONSORT, Het Orkest van het Oosten, and the Amsterdam Symphony 
Orchestra. His works include a number of compositions for chamber ensembles 
ranging from violin to marimba and piano; five operas (Inanna: An Opera of 
Ancient Sumer, based on ancient Sumerian texts; The Curious Affair of the 
Count of Monte Blotto, a comic chamber opera; Vasya Whitefeet, a 
children’s opera; The Reconciliation, a reconstruction of the early 
American ballad opera with libretto by Peter Markoe; and The Fashionable 
Lady, also a reconstruction of a 1730 ballad opera with libretto by James 
Ralph); orchestral works such as Pagan Festivals for string orchestra, 
Beowulf (two versions, one a suite for ancient instruments and the other 
an orchestral suite), three mandolin concertos and a double concerto for two 
mandolins and orchestra, a concerto for tuba and orchestra, and a setting of 
Mongolian folk songs for viola and orchestra; and vocal compositions including 
The Love Song of J. Alfred Prufrock for tenor and strings and several 
song cycles. A number of his works are currently available in print from 
Wolfhead Music.
Although Craton at one time became a clinical 
audiologist in his professional life, he has maintained a strong interest in 
music, composition, and music instruction from his earliest days. After his 
local audiology practice was purchased by an Indianapolis concern several years 
ago, he decided to return to his roots and resume composing and teaching.
 
When not involved in music, Craton enjoys watching 
the Mets play baseball in the summer, the Saints football in the fall, and sumo 
wrestling whenever it is available in the U.S. He is an avid reader and has a 
special interest in history, particularly ancient history and the history of the 
First World War era. 
Mr. Craton is a member of ASCAP, the American String Teachers 
Association, the Indiana Music 
Teachers Association, Opera America, the Classical Mandolin 
Society of America, the Monarchist League, 
and the Sons of Confederate Veterans.
A listing of recent and upcoming performances of