After a beginning of self-education, Homs studied Composition with
Robert Gerhard for different time periods between years 1931 and 1938.
Like many other composers of his generation, Homs was drawn, from the
very comencement by the necessity of solving the problem provoked by
the tonality crisis. Curiously enough, he reached a solution that
brought him closer to Schoenberg's dodecaphonism.
Somehow, in Homs' evolution, it is hard to identify great aesthetic
changes, one could rather talk about a logical and coherent process in
the adoption of new ideas as well as in the variance of position or
earlier concept nuances. Thus, in his first compositions, this can be
observed almost as constants in the conception of his works: the use of
chromatic whole of the scale and the primacy of counterpointistic
canons in the elaboration of his discourse, with which it becomes
possible to state that the score's harmonic structure is being shaped
by the polyphonic sense, meant as a free melody play, eventhought
always controlled by the conciseness in the thematic
Soliloqui II per a cordes (c.6'30")
Dues invencions per a cordes (c.