Petric continued performance studies with various instructors including Hugo Noth at the Staatliche Hochschule für Musik Trossingen, Renaissance specialist Leslie Huggett (1992–8), harpsichordist Colin Tilney (1997–2010), and forte-pianist Boyd McDonald (2009–15).

[2] Although the electroacoustic genre was initially most prevalent in avant garde circles, these works were welcomed enthusiastically in programs Petric has presented to general audiences.

[5] These commissions include concerti by composers like Peter Paul Koprowski (1994),[6] Omar Daniel (1998),[7] Denis Gougeon (2004),[8] James Rolfe (2005),[9] and Brian Current (2008),[10] among many others.

[14] This holistic approach to performance has been received well among audiences and critics; Peter Reed’s review of Die Winterreise with Pentaèdre and Prégardien at Wigmore Hall in 2019 praises Petric's "extraordinary grasp of [the accordion’s] ability to sound like 'breath from another planet'”.

[1] In 2009 he began a series of intercontinental tours with the wind quintet Pentaèdre and tenor Christoph Prégardien in Norman Forget's chamber adaptation of Schubert's Die Winterreise.

[25] The academic dimension of his practice includes treatises such as Giuseppe Tartini's The Art of Ornamentation (1759) and Adolf Beyschlag's Die Ornamentik (1904), recent and historical scholarly publications, and Petric's own writing.

Petric's 2017 monograph The Concert Accordion: Contemporary Perspectives, for example, combines musicological, historical, and interpretive approaches that are fundamental for developing “a living art”.

[28] Petric's accordion is a practical application of his interests in historical design and recent acoustic research, which were combined to create an instrument suited to performing in concert halls.