Bel\u00e7ika m\u00fczi\u011fi, Flamanca Felemenk\u00e7e konu\u015fulan ve Valonca Frans\u0131zca konu\u015fulan geleneklerin Alman az\u0131nl\u0131klar\u0131n ve Demokratik Kongo Cumhuriyeti’nden veya di\u011fer uzak \u00fclkelerden gelen g\u00f6\u00e7men topluluklar\u0131n gelenekleriyle kar\u0131\u015ft\u0131\u011f\u0131 bir k\u00fclt\u00fcrel kar\u0131\u015f\u0131md\u0131r.<\/p>\n\n
O zaman\u0131n Avrupa sanat m\u00fczi\u011finde merkezi bir rol oynayan bir vokal polifoni ak\u0131m\u0131 olan Frans\u0131z-Flaman Okulu’nun 15. ve 16. y\u00fczy\u0131l \u00f6nemli bestecilerinin \u00e7o\u011fu, Bel\u00e7ika, L\u00fcksemburg ve Hollanda’y\u0131 kapsayan co\u011frafi b\u00f6lgede, g\u00fcn\u00fcm\u00fcz Bel\u00e7ika’s\u0131nda, genellikle Hainaut’ta do\u011fup b\u00fcy\u00fcm\u00fc\u015ft\u00fcr[1]<\/sup><\/a>. Ge\u00e7 orta\u00e7a\u011f bestecisi ve m\u00fczik teorisyeni Johannes Ciconia (c.\u20091370\u20131412) Li\u00e8ge’de do\u011fmu\u015ftu, ancak daha sonraki bir\u00e7ok Flaman polifonist gibi hayat\u0131n\u0131n \u00e7o\u011funu R\u00f6nesans \u0130talya’s\u0131nda \u00e7al\u0131\u015farak ge\u00e7irdi. Flaman ve di\u011fer Hollandal\u0131 m\u00fczisyenlerin neden Avrupa \u00e7ap\u0131nda R\u00f6nesans m\u00fczi\u011fi \u00fczerinde bu kadar g\u00fc\u00e7l\u00fc bir etki yaratt\u0131\u011f\u0131 belirsizli\u011fini koruyor (\u00f6zellikle Li\u00e8ge ve Roma aras\u0131nda geli\u015fen g\u00fc\u00e7l\u00fc bir eksen ile), bir olas\u0131l\u0131k, yerel olarak m\u00fczik teorisine yap\u0131lan vurgudur.[1]<\/sup><\/a>\u00a0Guillaume Dufay (c. 1397-1474), Br\u00fcksel yak\u0131nlar\u0131nda do\u011fdu (\u00e7ocukken Cambrai’ye ta\u015f\u0131nd\u0131 ve ayn\u0131 zamanda \u0130talya’da \u00e7al\u0131\u015ft\u0131), 15. y\u00fczy\u0131l\u0131n ba\u015flar\u0131ndaki Burgonya Okulu’nun \u00f6nemli bir fig\u00fcr\u00fcyd\u00fc ve \u00e7a\u011fda\u015flar\u0131 taraf\u0131ndan \u00e7a\u011f\u0131n \u00f6nde gelen bestecisi.[2]<\/sup><\/a> Bir ba\u015fka etkili fig\u00fcr de Gilles Binchois’ti (c. 1400-1460): muhtemelen Mons’ta (veya yak\u0131nlardaki Binche’de) do\u011fdu, \u015fu anda Frans\u0131z Flanders’\u0131n en b\u00fcy\u00fck \u015fehri olan Lille’e ta\u015f\u0131nd\u0131 ve \u00e7a\u011fda\u015flar\u0131n\u0131n \u00e7o\u011funun aksine, profesyonel ba\u011flant\u0131lar\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. [3]<\/sup><\/a> Johannes Ockeghem (c. 1410-1497), ayr\u0131ca 15. y\u00fczy\u0131l\u0131n \u00f6nde gelen bestecilerinden biri olarak kabul edilir; Hainaut’lu biri olarak, kariyerinin \u00e7o\u011funu Frans\u0131z saray\u0131nda \u00e7al\u0131\u015farak ge\u00e7irdi.[4]<\/sup><\/a><\/p>\n\n Hollandal\u0131 bestecilerin g\u00f6\u00e7\u00fc ve etkisi, Bel\u00e7ika, L\u00fcksemburg ve Hollanda’y\u0131 kapsayan co\u011frafi b\u00f6lgeden gelen yetenekli m\u00fczisyenlerin k\u0131tadaki mahkemelerde ve katedrallerde i\u015fe al\u0131nd\u0131\u011f\u0131 ve Avrupa’n\u0131n m\u00fczik okulunu etkin bir \u015fekilde sa\u011flad\u0131\u011f\u0131 bir d\u00f6nemde, kabaca 1480 ile 1520 aras\u0131nda doruk noktas\u0131na ula\u015ft\u0131.[1]<\/sup><\/a> Josquin des Prez’in m\u00fczi\u011fi ( c. 1450-1521), 16. y\u00fczy\u0131l Y\u00fcksek R\u00f6nesans\u0131n\u0131n \u00e7o\u011fu i\u00e7in estetik bir model olarak kabul edildi; Hayat\u0131 boyunca bir Frans\u0131z olarak an\u0131lsa da (hem Fransa hem de \u0130talya’da \u00e7al\u0131\u015ft\u0131) muhtemelen Hainaut’ta do\u011fdu.[5]<\/sup><\/a> K\u00f6kenleri Bel\u00e7ika’n\u0131n A\u015fa\u011f\u0131 \u00dclkeler b\u00f6lgesine kadar uzanan di\u011fer etkili bestecileri aras\u0131nda Jacob Obrecht (c. 1457-1505), Pierre de La Rue (c.\u20091452-1518), Alexander Agricola (c. 1445-1506), ve Gaspar van Weerbeke (c.\u20091445\u2013c. 1516).[1]<\/sup><\/a> A\u015fa\u011f\u0131 Bel\u00e7ika, L\u00fcksemburg ve Hollanda’y\u0131 kapsayan co\u011frafi b\u00f6lgeden gelen m\u00fczisyenlerin g\u00f6\u00e7\u00fc 16. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na kadar devam etse de, Hollanda etkisinin hegemonyas\u0131 azalmaya ba\u015flad\u0131.[1]<\/sup><\/a> D\u00f6nemin ger\u00e7ekten etkili son isimlerinden biri Orlande de Lassus’tu (c. 1532-1594).[1]<\/sup><\/a> Mons’un bir ba\u015fka yerlisi olan Lassus, y\u00fczy\u0131l\u0131n en \u00e7ok y\u00f6nl\u00fc bestecilerinden biri ve (Grove’daki giri\u015fine g\u00f6re) “Avrupa’n\u0131n en tan\u0131nm\u0131\u015f ve en \u00e7ok be\u011fenilen m\u00fczisyeni” oldu.[6]<\/sup><\/a><\/p>\n\n Andr\u00e9 Ernest Modeste Gr\u00e9try, 18. y\u00fczy\u0131l\u0131n en \u00fcnl\u00fc bestecisiydi – \u015fimdi Bel\u00e7ika olarak adland\u0131r\u0131lan yerde do\u011fdu. 19. y\u00fczy\u0131l Henri Vieuxtemps, C\u00e9sar Franck, Guillaume Lekeu ve Eug\u00e8ne Ysa\u00ffe gibi besteciler sa\u011flad\u0131. 20. y\u00fczy\u0131l\u0131n sonunda en dikkate de\u011fer Bel\u00e7ikal\u0131 besteciler Piet Swerts ve Wim Mertens idi.<\/p>\n\n Opera alan\u0131nda baritonlar Jules Bastin ve Jos\u00e9 van Dam en \u00fcnl\u00fc ve uluslararas\u0131 alanda ba\u015far\u0131l\u0131 Bel\u00e7ikal\u0131 opera sanat\u00e7\u0131lar\u0131 oldular. Daha hafif klasik tarzda, Flaman \u015fark\u0131c\u0131 Helmut Lotti, pop\u00fcler opera \u015fark\u0131lar\u0131n\u0131 geni\u015f kitlelere y\u00f6nelik yorumlar\u0131yla uluslararas\u0131 ba\u015far\u0131ya ula\u015ft\u0131.<\/p>\n\n 20. y\u00fczy\u0131l\u0131n sonlar\u0131nda ve 21. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda, Wieland Kuijken ve Marcel Ponseele gibi Bel\u00e7ikal\u0131 sanat\u00e7\u0131lar, topluluklar\u0131 La Petite Bande ve il Gardellino ile barok m\u00fczi\u011fin Tarihsel olarak bilgilendirilmi\u015f performans\u0131na katk\u0131da bulundular.<\/p>\n\n En \u00fcnl\u00fc caz enstr\u00fcmanlar\u0131ndan biri olan saksafon, bir Bel\u00e7ikal\u0131 taraf\u0131ndan icat edildi: Adolphe Sax.<\/p>\n\n Bilinen baz\u0131 Bel\u00e7ikal\u0131 blues sanat\u00e7\u0131lar\u0131, Elmore D (\u0130ngilizce ve Valon leh\u00e7esinde \u015fark\u0131 s\u00f6yl\u00fcyor) ve Flaman Roland van Campenhout (Roland olarak da bilinir).<\/p>\n\n 1930’larda Bel\u00e7ikal\u0131 \u00e7ingene gitaristi Django Reinhardt, Avrupa’da do\u011fan ilk \u00f6nemli caz m\u00fczisyenlerinden biri ve t\u00fcm zamanlar\u0131n en \u00f6nemli caz gitaristlerinden biri oldu. 1949’da Toots Thielemans, Sidney Bechet, Charlie Parker, Miles Davis, Max Roach ve di\u011ferleri ile Paris’te bir jam session’a kat\u0131ld\u0131. 1952’de Charlie Parker’\u0131n All-Stars \u00fcyesi oldu\u011fu ABD’ye ta\u015f\u0131nd\u0131. Toots Thielemans, caz merakl\u0131lar\u0131 ve caz ele\u015ftirmenleri taraf\u0131ndan y\u00fczy\u0131l\u0131n en b\u00fcy\u00fck caz armonika sanat\u00e7\u0131s\u0131 olarak kabul edilir. Midnight Cowboy ve Turkish Delight gibi filmlerde, Susam Soka\u011f\u0131 ve Baantjer gibi televizyon dizilerinde m\u00fczi\u011fi kullan\u0131ld\u0131. Di\u011fer tan\u0131nm\u0131\u015f Bel\u00e7ikal\u0131 sanat\u00e7\u0131lar ise Aka Moon, Bobby Jaspar, Bert Joris, Philip Catherine, Steve Houben, Octurn ve Ren\u00e9 Thomas’t\u0131r.<\/p>\n\n Bobbejaan Schoepen, 1940’lar\u0131n sonlar\u0131ndan beri Bel\u00e7ika vodvil ve pop m\u00fczi\u011finde \u00f6nc\u00fc olmu\u015ftur. Sadece uluslararas\u0131 bir at\u0131l\u0131m ger\u00e7ekle\u015ftiren ilk Bel\u00e7ikal\u0131 \u015fark\u0131c\u0131 de\u011fil, ayn\u0131 zamanda modern ekipman\u0131, ki\u015fisel bir tur otob\u00fcs\u00fcn\u00fc ve sanat\u00e7\u0131 sponsorluk sistemini kullanan ilk ki\u015fiydi. Ayr\u0131ca Low Country ve Almanya’da ilk \u00fclke ve bat\u0131 kay\u0131tlar\u0131n\u0131 tan\u0131tt\u0131. 1950’lerde Bobbejaan Schoepen, genellikle Flaman leh\u00e7esinde \u015fark\u0131 s\u00f6yleyen kesinlikle \u00e7\u0131lg\u0131n halk m\u00fczi\u011fini kaydetti. Ayn\u0131 zamanda \u00e7ok iyi bir virt\u00fc\u00f6zd\u00fc.<\/p>\n\n 1960’lar\u0131n sonlar\u0131ndan itibaren Flanders, Wannes Van de Velde, Willem Vermandere, Walter De Buck, Hubert Boone, Herman De Wit ve Wannes Van de Velde gibi m\u00fczisyenlerin \u00e7abalar\u0131yla geleneksel m\u00fczi\u011fin (ve daha az derecede geleneksel danslar\u0131n) canland\u0131\u011f\u0131 g\u00f6r\u00fcld\u00fc.Yaz\u0131l\u0131 ve kay\u0131tl\u0131 yay\u0131nlar\u0131, festivaller ve d\u00fczenli yaz akademileri ve ustal\u0131k s\u0131n\u0131flar\u0131 arac\u0131l\u0131\u011f\u0131yla yeni nesil halk m\u00fczisyenlerine ilham verdiler.<\/p>\n\n Valon halk m\u00fczi\u011fi Flaman kadar bir canlanma ya\u015famad\u0131, ancak Co\u00efncidence, Remy Dubois, Luc Pilartz, Rue du Village ve Claude Flagel gibi sanat\u00e7\u0131lar halk geleneklerini canl\u0131 tuttu.<\/p>\n\n Genel evrimin aksine, s\u00f6zde dilsel engeller kar\u015f\u0131s\u0131nda her zaman b\u00fcy\u00fck bir a\u00e7\u0131kl\u0131k olmu\u015ftur – farkl\u0131 dillerden Bel\u00e7ikal\u0131 m\u00fczisyenler aras\u0131nda bir\u00e7ok i\u015fbirli\u011fi vard\u0131r.<\/p>\n\n En b\u00fcy\u00fck Bel\u00e7ikal\u0131 chansonnier, klasik \u015fark\u0131lar\u0131 David Bowie, Frank Sinatra, Scott Walker ve Terry Jacks gibi bir\u00e7ok uluslararas\u0131 sanat\u00e7\u0131 taraf\u0131ndan yorumlanan Jacques Brel’di. Salvatore Adamo, Pierre Rapsat, Arno, Maurane, Axelle Red ve Lara Fabian gibi di\u011ferleri de Frans\u0131zca konu\u015fulan di\u011fer \u00fclkelerde baz\u0131 ba\u015far\u0131lar elde etti.<\/p>\n\n Frans\u0131z chanson stili, Kor Van der Goten ve Jan De Wilde gibi Hollandaca konu\u015fan baz\u0131 \u015fark\u0131c\u0131lara da ilham verdi.<\/p>\n\n 1960’lar\u0131n halk canlanmas\u0131yla birlikte leh\u00e7e \u015fark\u0131 s\u00f6ylemeye yeni bir ilgi geldi. \u00d6nc\u00fc Wannes Van de Velde k\u0131sa s\u00fcrede \u00e7o\u011funlukla folk ve geleneksel tarzlarda bir takip\u00e7i kitlesine sahip oldu, ancak sonunda The Clement Peerens Explosition’\u0131n komedi rock’\u0131na ve Flip Kowlier’\u0131n hip-hop’una kadar uzand\u0131. Di\u011ferleri, \u00e7o\u011funlukla standart Hollandaca \u00e7alarken, ara s\u0131ra bir c\u00fcmle veya hatta leh\u00e7ede tam bir \u015fark\u0131 i\u00e7erecektir (\u00f6r. Johan Verminnen, Rue des Bouchers ve Raymond van het Groenewoud, Je veux de l’amour).<\/p>\n\n 1950’den 1960’a ve sonraki ony\u0131llar boyunca en pop\u00fcler, kal\u0131c\u0131, ticari ve ele\u015ftirel ba\u015far\u0131l\u0131 Flaman \u015fark\u0131c\u0131, Flanders’ta en iyi bilinen hiti “Ik ben zo eenzaam zonder jou” (sensiz \u00e7ok yaln\u0131z\u0131m) (1963) olan Will Tura’yd\u0131. .<\/p>\n\n Flanders ve Hollanda’da Flaman leh\u00e7elerinde veya standart Hollandaca \u015fark\u0131 s\u00f6yleyen en pop\u00fcler ve kal\u0131c\u0131 sanat\u00e7\u0131lar Eddy Wally, Raymond van het Groenewoud, Willem Vermandere, De Kreuners, Clouseau, Gorki (grup), Noordkaap ve De Mens’dir.<\/p>\n\n 1959’da \u0130talyan as\u0131ll\u0131 Bel\u00e7ikal\u0131 \u015fark\u0131c\u0131 Rocco Granata, “Marina” ile Avrupa’da b\u00fcy\u00fck bir hit oldu. \u015eark\u0131 s\u00f6yleyen rahibe Soeur Sourire, 1963’te Dominique ile uluslararas\u0131 bir numaral\u0131 hit oldu. 1964’te \u015fark\u0131 i\u00e7in en iyi \u0130ncil kayd\u0131 i\u00e7in Grammy \u00d6d\u00fcl\u00fc kazand\u0131 ve Y\u0131l\u0131n Alb\u00fcm\u00fc de dahil olmak \u00fczere di\u011fer bir\u00e7ok kategoriye aday g\u00f6sterildi. Halk ve hippi k\u00fclt\u00fcr\u00fc nihayet d\u00fcnya \u00e7ap\u0131nda bir sese sahip oldu\u011funda, The Pebbles (“Seven Horses in the Sky”, “I Get Around”) ve The Wallace Collection (“Daydream”) gruplar\u0131 \u00f6nemli uluslararas\u0131 ba\u015far\u0131 elde etti. Aalst’tan bir hard rock grubu olan Irish Coffee de ayn\u0131 d\u00f6nemde \u00f6nemli yerel ba\u015far\u0131lar elde etti. Ger\u00e7ekten profesyonel y\u00f6netim eksikli\u011fi nedeniyle, bu birka\u00e7 pop grubu, en ba\u015far\u0131l\u0131 sanat\u00e7\u0131lar\u0131n ana dillerinde \u015fark\u0131 s\u00f6yledi\u011fi 1970’lerde devam eden bir trend olan, kal\u0131c\u0131 bir uluslararas\u0131 kariyer in\u015fa edemedi. Tek ger\u00e7ek yeni uluslararas\u0131 ba\u015far\u0131l\u0131 sanat\u00e7\u0131 Plastic Bertrand’d\u0131. (A\u015fa\u011f\u0131daki “Punk” b\u00f6l\u00fcm\u00fcne bak\u0131n).<\/p>\n\n Bel\u00e7ikal\u0131 sanat\u00e7\u0131lar i\u00e7in ger\u00e7ek uluslararas\u0131 ba\u015far\u0131, 1980’de rock grubu TC Matic ile ba\u015flad\u0131. “Oh la la la” ve “Putain Putain” gibi say\u0131larla Avrupa’n\u0131n geri kalan\u0131nda olduk\u00e7a pop\u00fclerdiler. Solist Arno daha sonra kendi ba\u015far\u0131l\u0131 solo kariyerine ba\u015flad\u0131. Bir\u00e7ok grup ve sanat\u00e7\u0131, di\u011fer \u00fclkelerde \u00f6nemli ba\u015far\u0131lar elde etti, ancak genellikle Bat\u0131 Avrupa’dan \u00e7ok daha fazlas\u0131na ula\u015famad\u0131lar. \u00d6nemli istisnalar Maurane, Jo Lemaire, Soulsister (“The Way To Your Heart”, 1987) ve Vaya Con Dios (“Porto Riko”, 1988).<\/p>\n\n 1990’lar\u0131n ba\u015f\u0131nda bir\u00e7ok alternatif rock grubu nihayet daha b\u00fcy\u00fck uluslararas\u0131 be\u011feni ve ba\u015far\u0131 elde etmeye ba\u015flad\u0131. Antwerp’te, Zita Swoon (eski ad\u0131yla Moondog Jr), Evil Superstars, Kiss My Jazz, Dead Man Ray, K’s Choice (“Not an Addict” gibi di\u011fer ki\u015fi ve gruplar\u0131n yan\u0131nda dEUS’un muhtemelen en \u00fcnl\u00fc oldu\u011fu canl\u0131 bir indie rock sahnesi filizlenir. “), Amiral Freebee ve Die Anarchistische Abendunterhaltung. G\u00fcr\u00fclt\u00fc t\u00fcr\u00fcnde Antwerp, \u00f6nc\u00fc grup Club Moral’a ev sahipli\u011fi yapmaktad\u0131r. Ghent’te ayr\u0131ca patlayan bir indie sahnesi var: Absynthe Minded, Das Pop, Millionaire, Zornik, Awaken ve ba\u015far\u0131l\u0131 Soulwax, indie rock’\u0131 Antwerp’teki meslekta\u015flar\u0131ndan biraz daha p\u00fcr\u00fczl\u00fc bir \u015fekilde getiriyor, Vogues (Br\u00fcksel) ise \u0130ngiliz etkisinde bir sese sahip. Di\u011fer pop\u00fcler sanat\u00e7\u0131lar Triggerfinger, Gabriel R\u00edos ve Ghinzu’dur<\/p>\n\n En bilinen Bel\u00e7ikal\u0131 punk gruplar\u0131, Chainsaw, The Kids (“Fa\u015fist Polisler”, “Bir Dahaki Sefere Olmayacak”), Janez Detd, Cenaze Elbisesi ve “\u00c7a Plane Pour Moi” ile d\u00fcnya \u00e7ap\u0131nda bir hit olan Plastic Bertrand’d\u0131r ( 1978).<\/p>\n\n Bat\u0131 Flanders, 1990’larda “H8000” (“Hate-Thousand” olarak telaffuz edilir) yeralt\u0131 hardcore punk sahnesine ev sahipli\u011fi yap\u0131yordu. Sahnedeki gruplar a\u011f\u0131rl\u0131kl\u0131 olarak a\u011f\u0131r metalden ald\u0131 ve d\u00fcz kenarl\u0131 ve vegan ya\u015fam tarzlar\u0131n\u0131 takip etti. Baz\u0131 gruplar metalcore’un ve daha sonra melodik metalcore ve deathcore’un geli\u015fimine \u00f6nc\u00fcl\u00fck etmeye yard\u0131mc\u0131 oldular.[7]<\/sup><\/a> Baz\u0131 gruplar aras\u0131nda Congress, Liar, Blindfold, Shortsight, Regresyon ve Spirit of Youth say\u0131labilir.[8]<\/sup><\/a> Good Life Recordings, sahne i\u00e7in m\u00fczi\u011fin \u00e7o\u011funu imzalad\u0131 ve yay\u0131nlad\u0131.[9]<\/sup><\/a><\/p>\n\n En tan\u0131nm\u0131\u015f Bel\u00e7ikal\u0131 metal gruplar\u0131 aras\u0131nda death metalciler Aborted, Ostrogoth, Killer, Emeth, Fractured Insanity, Warbeast Remains ve Serial Butcher, Grindcore d\u00f6rtl\u00fcs\u00fc Leng Tch’e, Agathocles, black metal gruplar\u0131 Enthroned, Saille ve Ancient Rites, folk metal grubu Ithilien ve heavy metal grubu Channel Zero say\u0131labilir.<\/p>\n\n Hooverphonic, “Mad About You” ve “Vinegar and Salt” \u015fark\u0131lar\u0131yla hit olan Bel\u00e7ikal\u0131 \u00fcnl\u00fc bir trip hop grubudur.<\/p>\n\n En eski Bel\u00e7ika elektronika eylemi Telex (“Moskova Diskow”, “Euro-Vision”) idi. Frontman Marc Moulin daha sonra solo kariyerine devam etti.<\/p>\n\n 1980’lerin sonunda Bel\u00e7ika, Techno m\u00fczi\u011fin geli\u015fmesinde \u00e7ok \u00f6nemli bir rol oynamaya ba\u015flad\u0131. Technotronic grubu, Pump Up The Jam ile uluslararas\u0131 bir hit oldu. Yeni bir t\u00fcr, yeni bir ritim yarat\u0131ld\u0131 ve The Confettis (“The Sound of C.”, 1988) gibi oyunlarla uluslararas\u0131 hitler kazand\u0131. Front 242, Snowy Red,[10]<\/sup><\/a>\u00a0Public Relation\u00a0[11]<\/sup><\/a> ve A Split-Second gibi gruplar, EBM m\u00fczik t\u00fcr\u00fcn\u00fcn pop\u00fcler hale gelmesinde rol oynad\u0131.<\/p>\n\n 1990’larda k\u0131smen Dutch-Belgian 2 Unlimited (“Limitsiz”) ve Flaman Lords of Acid ve Praga Khan gibi eylemler uluslararas\u0131 alanda ba\u015far\u0131l\u0131yd\u0131. Di\u011fer uluslararas\u0131 \u00fcne sahip Bel\u00e7ikal\u0131 dans eylemleri 2 Many Dj’s (Soulwax grubundan bir yan \u00fcr\u00fcn), The Glimmers (eski ad\u0131yla Mo & Benoelie),[12]<\/sup><\/a>\u00a0Junior Jack<\/a>\u00a0&\u00a0Kid Creme<\/a>,\u00a0Sylver<\/a>,\u00a0Milk Inc.<\/a>,\u00a0Kate Ryan<\/a>,\u00a0Lasgo<\/a>,\u00a0Ian Van Dahl<\/a>, ve Vive La F\u00eate<\/a>. 2000’ler deneysel elektronik Bel\u00e7ikal\u0131 sanat\u00e7\u0131lar\u0131n \u00e7o\u011fald\u0131\u011f\u0131n\u0131 g\u00f6rd\u00fc. K\u00f6hn, Ovil Bianca & Tuk gibi sanat\u00e7\u0131lar uluslararas\u0131 be\u011feni toplad\u0131 ve y\u00fczy\u0131l\u0131n ba\u015f\u0131nda Bel\u00e7ika’da deneysel elektronik m\u00fczik alan\u0131nda \u00f6nc\u00fcl\u00fck ettiler. Jan Robbe, Kaebin Yield ve Sedarka, “flashcore”[13]<\/sup><\/a> sesinin temel yenilik\u00e7ileri ve Bel\u00e7ika Breakcore Gives Me Wood [14]<\/sup><\/a> kolektifinden Sickboy dahil di\u011ferleri, breakcore ve Mashup’\u0131n geli\u015ftirilmesinde \u00e7ok \u00f6nemliydi. G\u00fcn\u00fcm\u00fczde \u015fark\u0131c\u0131 Stromae, Avrupa’da ve \u00f6tesinde b\u00fcy\u00fck bir ba\u015far\u0131ya sahip bir m\u00fczikal ilham olmu\u015ftur. 2015’te Lost Frequencies, aslen Easton Corbin’in bir \u015fark\u0131s\u0131 olan Are You with Me’nin elden ge\u00e7irilmi\u015f versiyonuyla uluslararas\u0131 bir hit oldu. Son zamanlarda Ang\u00e8le de uluslararas\u0131 sahneye \u00e7\u0131kt\u0131.<\/p>\n\n 1980’lerin ba\u015f\u0131ndan beri, Afrikal\u0131 m\u00fczisyenler Bel\u00e7ika sahnesinde, \u00f6zellikle de eski Bel\u00e7ika kolonisi Kongo’dan gelenler, \u00f6nemli bir rol oynad\u0131lar. Kongolu-Bel\u00e7ikal\u0131 Princesse Mansia M’Bila, Ruandal\u0131-Bel\u00e7ikal\u0131 C\u00e9cile Kayirebwa ve Dieudonn\u00e9 Kabongo, k\u0131sa s\u00fcre sonra Arjantin tango m\u00fczi\u011fini, Fas udunu ve d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndan di\u011fer m\u00fczikleri birle\u015ftiren bu dalgaya \u00f6nc\u00fcl\u00fck etti. 1990’lar, Pygmy ve di\u011fer Afrika m\u00fczi\u011fini Avrupa etkileriyle bir araya getiren bir grup Kongolu-Bel\u00e7ikal\u0131 kad\u0131n olan Zap Mama’n\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131na tan\u0131k oldu.<\/p>\n\nCaz ve blues<\/h3>\n\n
Halk m\u00fczi\u011fi ve di\u011fer geleneksel m\u00fczik<\/h3>\n\n
Chanson<\/h3>\n\n
Dialect singing (Leh\u00e7eli \u015eark\u0131lar)<\/h3>\n\n
Pop ve rock<\/h3>\n\n
Indie rock<\/h3>\n\n
Punk<\/h3>\n\n
Metal<\/h3>\n\n
Hip-hop<\/h3>\n\n
Elektronik m\u00fczik<\/h3>\n\n
Afrika m\u00fczi\u011fi<\/h3>\n\n
Referanslar<\/h3>\n\n