study of music students: J. A. Sloboda et al., “The Role of Practice in the Development of Performing Musicians,” British Journal of Psychology 87 (1996): 287–309. See also: G. E. McPherson et al., “Playing an Instrument,” in The Child as Musician, ed. G. E. McPherson (Oxford: Oxford University Press, 2006) (“[I]t was discovered some of the most successful young learners were those who had been through a range of musical instruments”); and J. A. Sloboda and M. J. A. Howe, “Biographical Precursors of Musical Excellence,” Psychology of Music 19 (1991): 3–21 (“The exceptional children practiced much less than the average children on their first chosen instrument but much more than the average children on their third instrument”).
“a mismatch between the instruments”: S. A. O’Neill, “Developing a Young Musician’s Growth Mindset,” in Music and the Mind, ed. I. Deliège and J. W. Davidson (Oxford: Oxford University Press, 2011).
“It seems very clear”: Sloboda and Howe, “Biographical Precursors of Musical Excellence.”
A study that followed up: A. Ivaldi, “Routes to Adolescent Musical Expertise,” in Music and the Mind, ed. Deliège and Davidson.
“Despite the ever-increasing number”: P. Gorner, “Cecchini’s Guitar Truly Classical,” Chicago Tribune, July 13, 1968. (Studs Terkel interviewed Cecchini the day before the performance. That fantastic conversation about music can be found here: jackcecchini/Interviews.html).
“There was no connection”: T. Teachout, Duke: A Life of Duke Ellington (New York: Gotham Books, 2013).
America’s preeminent composer: Kerman and Tomlinson, Listen, 394.
“John played anything”: L. Flanagan, Moonlight in Vermont: The Official Biography of Johnny Smith (Anaheim Hills, CA: Centerstream, 2015).
“I got a wonderful piano teacher”: F. M. Hall, It’s About Time: The Dave Brubeck Story. (Fayetteville: University of Arkansas Press, 1996).
“with a drawn knife”; “I wonder if”: M. Dregni, Django: The Life and Music of a Gypsy Legend (Oxford: Oxford University Press, 2004 [Kindle ebook]). Two other sources provided particularly important details about Django’s life: C. Delaunay, Django Reinhardt (New York: Da Capo, 1961) (on the back cover, James Lincoln Collier, author of The Making of Jazz, identifies Django as “without question, the single most important guitarist”); and a special Django issue of Guitar Player magazine (November 1976) devoted to legendary musicians recounting their time with him.
creativity erupted: The 5-CD set “Django Reinhardt—Musette to Maestro 1928–1937: The Early Work of a Guitar Genius” (JSP Records, 2010) includes recordings of a young Reinhardt both before and after his injury.
Jimi Hendrix, who kept an album of Django’s: Jacob McMurray, senior curator at Seattle’s Museum of Pop Culture, kindly confirmed this with the museum’s permanent collection.
sepia-toned YouTube clip: “Django Reinhardt Clip Performing Live (1945),” YouTube, youtube/watch?v=aZ308aOOX04. (The date on the YouTube video is incorrect. The clip is from the 1938 short film “Jazz ‘Hot.’”)
“one of osmosis” (and other Berliner quotes): P. F. Berliner, Thinking in Jazz (Chicago: University of Chicago Press, 1994).
“as if the brain turned off”: C. Kalb, “Who Is a Genius?,” National Geographic, May 2017.
“Well, I can’t read either”: Guitar Player, November 1976.
“a concept that went against conservatory training”: Dregni, Django.
“I can’t improvise at all”: A. Midgette, “Concerto on the Fly: Can Classical Musicians Learn to Improvise,” Washington Post, June 15, 2012, online ed.
“My complete self-taught technique” and detail about hitting siblings with violins: S. Suzuki, Nurtured by Love, trans. W. Suzuki (Alfred Music, 1993 [Kindle ebook]).
household rules: J. S. Dacey, “Discriminating Characteristics of the Families of Highly Creative Adolescents,” Journal of Creative Behavior 23, no. 4 (1989): 263–71. (Grant referenced the study in: “How to Raise a Creative Child. Step One: Back Off,” New York Times, Jan. 30, 2016.)
CHAPTER 4: LEARNING, FAST AND SLOW
“Okay? You’re going to an Eagles game”: The classroom scene is from video, transcript, and analysis from the Trends in International Mathematics and Science Study (TIMSS). The particular video is “M-US2 Writing Variable Expressions.”
“three dollars for a hot dog”: The teacher briefly misspoke and said “two.” It is corrected for clarity.
“using procedures”; “making connections”: J. Hiebert et al., “Teaching Mathematics in Seven Countries,” National Center for Education Statistics, 2003, chap. 5.
bansho: E.R.A. Kuehnert et al. “Bansho: Visually Sequencing Mathematical Ideas,” Teaching Children Mathematics 24, no. 6 (2018):362–69.
“Students do not view mathematics as a system”: L. E. Richland et al., “Teaching the Conceptual Structure of Mathematics,” Educational Psychology 47, no. 3 (2012): 189–203.
tested sixth graders in the South Bronx: N. Kornell and J. Metcalfe, “The Effects of Memory Retrieval, Errors and Feedback on Learning,” in Applying Science of Learning in Education, V.A. Benassi et al., ed. (Society for the Teaching of Psychology, 2014); J. Metcalfe and N. Kornell, “Principles of Cognitive Science in Education,” Psychonomic Bulletin