Once in a great while, a particular locale alters the musical landscape. Think of the halcyon days of New Orleans, Kansas City, Detroit, Nashville, and Harlem. Today, a comparable renaissance is taking place in Brooklyn — the country’s fourth largest city — where a juicy mix of talent has been developing for more than 10 years, entertaining savvy natives and slowly drawing in outsiders. You name it — jazz, hip-hop, rock, blues, reggae, and original fusions — top-flight bands play it nightly at packed gigs throughout the borough.

Beginning Friday, the Brooklyn Academy of Music will pay tribute to this remarkable, constantly evolving Land of Oz in its second annual Brooklyn Next festival, which, it says, “proves why Brooklyn is now the center for innovative music in the U.S.”

“Something extraordinary is happening here in Brooklyn,” BAM’s executive producer, Joseph V. Melillo, said recently, “and we want to recognize it.”

The celebration, which will comprise nearly 200 events over the next two weekends, kicks off Friday and Saturday at the BAM Opera House with shows by the jam-funk band Soulive and the indie-blues idol Citizen Cope, respectively. The five-piece chamber-rock ensemble the National will perform on the 22nd, followed by two family concerts by Dan Zanes and Friends on February 24.

The first of four nights of free music in BAM café also begins Friday with Power Douglas, produced by the Black Rock Coalition. The music production company JellyNYC, famous for its dance-pool parties at Williamsburg’s McCarren Park, brings in the calypso rock of Bushwick’s White Rabbits on Saturday. And that’s not counting performances at 17 local venues, including Frank’s Lounge, Southpaw, Union Hall, and Barbés. It all adds up to a mind-boggling 175 concerts.

“The musicians here are moving away from the traditional model established in Manhattan, where they have to prove themselves right away in the prevailing aesthetic, and then have to get record contracts to prove they are worthy,” the associate producer and music programmer for BAM, Darrell McNeill, said. “A lot of it has to do with overhead costs forcing market driven presentations. Here they can experiment; it’s looser. There’s more breathing room and less pressure. It gives birth to more innovative forms.” That’s what has been going on in various hole-in-the-wall establishments and occasionally even in musicians’ bedrooms, which is where the National first came together. Now one of the biggest independent rock bands, it plays at Brooklyn Next for the first time this year.

“We’re just casting a brighter spotlight on what’s been happening and trying to create a platform for as many good artists as possible,” Mr. McNeill said. “The venues won’t be doing anything different; just programming Brooklyn artists. But since it’s all happening in a short period of time, it steps up the energy.”

The music producer Doug DeFalco started following the Brooklyn music scene about six years ago. A self-confessed music geek, he tended bar at Park Slope’s Southpaw before moving to the position of booker, bringing in such local acts as Soulive and Citizen Cope. He established JellyNYC with Alexander Kane in 2005. “Things started really changing in 2001, with a lot of bands moving here because rents were cheaper than Manhattan,” Mr. DeFalco said. “There was nothing going on there but a lot of bad lounge, ambient kind of music. Manhattan is not about culture anymore; it’s about tourism. The music here just keeps blossoming. Brooklyn is where the city’s culture is developing. Everyone’s included. This isn’t just a 30-something phenomenon. It’s too diverse to nail down. There’s something for everyone.”

The Opera House headliners, Citizen Cope (a.k.a Clarence Greenwood) and the National were not born and bred in Brooklyn, but now call it home, as does the guitarist Eric Krasno of the trio Soulive. “The best gigs we’ve played in New York have been in Brooklyn,” the drummer for Soulive, Alan Evans, said. “It’s like playing at home. In Manhattan, there’s a different vibe. Lots of people from the music business, which puts the pressure on. Here it’s laid back. People feel they can enjoy themselves, man. They’re just chilling. It’s so much more enjoyable for us. Before the upcoming show, we’ll hang out with Eric for four or five days and work up some new material. It’s like when I cook; I throw in a lot of ingredients. If we look a little confused during the concert, it’s because we might still be working it out. We’re going back to our roots. This show’s going to be very mellow. Very Brooklyn.”