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Andriessen himself, 52 years of age at the time, called it a "a trance symphony".The music-perhaps surprisingly for a contemporary classical composer-is less in the tradition of his peers such as Pierre Boulez or Karlheinz Stockhausen and more in tune with the electronic sounds of the Seventies emanating from Berlin, Dusseldorf or Forst, the likes of Cluster, early Kraftwerk and Tangerine Dream, in places echoing Conrad Schnitzler.It is enough a landscape with all its highlandsand valleys to allow the emergence, growth and cultivation of allkinds of ideas and criticisms.One is bound to find all kinds of tastes and inclinations fordifferent literary themes, styles, and languages in a heterogeneousand cosmopolitan place like Kano.One may ask why Sakkwato, Katsina or Zaria have not pioneered it.
He further sees the city as an anthropological manuscript with all itsmisspellings and torn pages, but also an abode of a society's saintsand sinners.
It was therefore not surprising whenin the 1950's and 1960's as well as the late 1970's Kano producedstrong poetic voices that greatly influenced the politics of protestand the progressives.
In the 1990's, Kano-City led the bandwagon ofneo-religious singers, whose traditional roles were earlier restrictedto places of worship but extended into other social segments of thesociety.
Writers and other producers of art over the years entertainedthe citizens, but also interpreted and documented happenings in thesociety at a point in time.
The Literature: Kano did not produce a large number of novelists untilrecently, but it has produced a good number of prolific and importantpoets.