Violin prodigies (神童), I learned, have come in distinct waves from distinct regions. Most of the great performers of the late 19th and early 20th centuries were born and brought up in Russia and Eastern Europe. I asked Isaac Stern, one of the world's greatest violinists, the reason for this phenomenon. “It is very clear,” he told me. “They were all Jews and Jews at the time were severely oppressed and ill-treated in that part of the world. They were not allowed into the professional fields, but they were allowed to achieve excellence on a concert stage.” As a result, every Jewish parent's dream was to have a child in the music school because it was a passport to the West. Another element in the emergence of prodigies, I found, is a society that values excellence in a certain field and is able to nurture (培育) talent. Nowadays, the most nurturing societies seem to be in the Far East. “In Japan, a most competitive society with stronger discipline than ours,” says Isaac Stern, “children are ready to test their limits every day in many fields, including music. When Western music came to Japan after World War II, that music not only became part of their daily lives, but it became a discipline as well.” The Koreans and Chinese, as we know, are just highly motivated as the Japanese. That’s a good thing, because even prodigies must work hard. Next to hard work, biological inheritance plays an important role in the making of a prodigy. J. S. Bach, for example, was the top of several generations of musicians, and four of his sons had significant careers in music.