Among his students are composers Ana Mihajlović,[6] Jelena Jančić,[7] Goran Kapetanović, Tatjana Milošević,[8] Božidar Obradinović,[9] Szilard Mezei,[10] Vladimir Pejković,[11] Ivana Ognjanović[12] and Branka Popović.

Performers have included Belgrade Strings, Irish Chamber Orchestra, Zagreb Soloists, 12 Cellists of the Berlin Philharmonic, Belgrade Philharmonic Orchestra, Živojin Zdravković, Dušan Miladinović, Keneth Jean, Pavle Dešpalj, James Judd, Uroš Lajovic, Aleksandar Pavlović, Bojan Suđić, Darinka Matić-Marović, David Takeno, So-Ock Kim, Malachy Robinson, Jon Bogdan Stefanescu, Marija Špengler, Arisa Fujita, Nebojša Ignjatović, Sophie Langdon, Miloš Petrović, Emanuel Pahud, Ljubiša Jovanović, Youngchang Cho, Aleksandar Madžar and Dejan Mlađenović, among others.

As a composer with significant record of stage music Erić also had a very good artistic partnership with choreographers and directors like Lidija Pilipenko,[21] Sonja Vukićević,[22] Haris Pašović, Gorčin Stojanović, Nikita Milivojević, Vida Ognjenović, Nebojša Bradić, Milan Karadžić, Dejan Mijač, Boro Drašković, Ivana Vujić, Ljiljana Todorović and Egon Savin among others.

The need to shape his musical expression as his own synthesis of total sound surrounding him, already evident in Mirage, is developed by in the compositions Erić wrote about two years later: the ballet Elizabeth the Princess of Montenegro and the choir Subito.

His work during the 80s is marked by three key compositions: Off – as music beyond his own vocabulary until that time, Cartoon – as a play of basic emotional clichés and rudimentary gests of movement and Talea Konzertstück – as a "gliding" towards open sensitivity.

The music was "processed" through the phases (movements) Unawareness, Resistance, Anger, Wondering and Acceptance which became a general "formal map" of all compositions from the cycle Images of Chaos.