The earliest known experiments with repertoire diversity (which were not widely spread) were initiated at the beginning of the 20th century. These include the creative quest of Adam Skryabin, the first amateur composer among Yakuts, and later his khomus ensemble at the National Theater; the first amateur khomus ensemble at the Bailiff Club; theatrical performances with khomus by Nyiet Byraat, known from the memories of Sergey Zverev-Kyil Uol.
The fundamental changes began with the rise of stage and performing arts (since the 20s of the 20th century). The culture of stage folklore began to form with the arrival of the first cultural and educational institutions. It all started as fragments and short pieces of folklore. Nevertheless, with the evolution of performing arts, stage folklore was developing too: there were some stage pieces based purely on folklore material, moreover, in the ideological context of the new Soviet government. The stage dictates specific requirements for performers: performance time is limited, forcing the performer to think out and prepare the performance beforehand; performers and spectators are separated by distance and have their spacing; performers are under the constant attention of spectators, and with the rise of sound equipment, more questions on how to work with it arose as well. Traditionally, khomus is a purely individual instrument, and the traditional manner of playing syyia tardy is aimed at the performer himself rather than listeners. Undoubtedly, talented cultural figures were "trendsetters" on the stage, such as Ustin Nohsorov and Sergey Zverev-Kyil Uola. One of the outstanding khomus players was Luka Turnin, whose recorded compositions are a bright symbiosis of traditional motifs and the author's creativity.
Adam Scriabin made the first attempts to include khomus in orchestral music. Unfortunately, in his short life, he did not have time to realize all of his plans. The most famous works by Grant Grigoryan feature khomus. Combining an overtone instrument with symphonic music poses specific difficulties. The khomus has only one fundamental tone, which is usually tuned randomly by its master's ears. The sound changes by varying overtones, which fundamentally distinguishes it from other instruments. After Grigoryan, a whole galaxy of composers wrote music pieces featuring khomus. However, all of them limited khomus pieces to rhythmic play or small off-melodic insertions.
Another stage in the development of khomus music falls on the activity of "Algys" ensemble (led by Ivan Alekseev-Khomus Uybaan) since 60s. Student ensemble, which existed on the basis of Yakutsk State University, brought a new breath in khomus music, where the emphasis was on the improvisational style and some competition between soloists. This contributed that traditional khomus playing techniques were enriched with new ones within the ensemble: "tabygyr" - fractional sound (I. Alekseev), "tarbakh araas okhsuulara" - various finger claps (S. Shishigin, A. Pakhomov), "keҕe" - cuckoo (A. Pakhomov), and techniques "iliinen araas osuular" - various hand claps - and "tylinan tardyy" - playing with the help of language, introduced by Fedora Gogoleva, who was not a member of the ensemble. During this period, an improvisational style develops, which pursues the goal - creation of a complete musical form using specific sound possibilities of khomus.