Mr. Petric's scholarship is a holistic reconstruction in defense of the accordion's historic provenance, a provenance denounced by eurocentric nihilism (Arendt) and sustained by self-validating reductivist conformity in the technocratic conservatoire (Harnoncourt). His book The Concert Accordion - Contemporary Perspectives 2017 (330 p.) the first fully contextualized accordion history in more than 100 years, invites a fresh holistic resonance between the accordion's rich history and our understanding of the medium in the concert hall today. The publication is rife with forensic illuminations of forgotten treatises (Gagliardi), documents, photographs, artists, ignored mid-20th century scholarship (Monichon), as well as the discovery of more than thirty-two instrument designs and patents from Milan, Bolzano, Catania, Camerano, Paris, Zurich, Trossingen, Philadelphia, Manhattan and Chicago 1905-30. The work was cited as a "...towering achievement and model of scholarship" (Goldman).
Mr. Petric's work the Holistic Accordion- A Manifesto 2022 (50 p.) explored the acute divergence of a living accordion art in the 21st century concert hall and the obdurate reductivism of a pastorale accordion. "Brilliantly written, theoretically astute and a joy to read" (Hutcheon), the theoretical perspectives of the Manifesto are supported by hard won empirical perspectives of decades on the international stage, and the role of intuition, imagination, and greater transcendent values in the art.
His most recent book Accordion Dialogues and the Poetics of an Interpretive Art 2025 (165 p.) is an exegesis of the Manifesto exploring the ideals and values of artistic synthesis "with profound respect and mindfulness" (Rea). Here the author introduces a plethora of viewpoints by thinkers, poets and artists such as Enrico Cecchetti, Hanna Arendt, Mikhael Bakhtin, Bob Dylan and Duke Elleington, voices that open fresh horizons for those in search of their own embodied interpretive art.
All three publications are available from www.augemus.de .