HELP! Need a quote from Arnold Schultz book 'The Riddle of the Pianists Finger'!

[gidselgrisen]

Hello my friends!
I am writing a university paper on piano technique, and I had what was apparently the only copy of Arnold Schultzī 'the Riddle of the Pianistīs Finger' in my country. I got it from a library in another city, and wrote down the quotes I needed.

Now i noticed the fact that I only wrote half of one of the most important quotes i needed (I thought I could always write down the rest, but failed to do so before I returned the book to the library), and their book is now borrowed by another user.   

If you have a copy of this book and can write down the quote for me here, you will be the hero of the day! Itīs about 5 or 6 lines long, I think.
Itīs on page vi in my copy and begins with:

”The general hostility to the idea of method derives much of its vitality, i believe, from a half-coscious and almost universal suspicion that there is a fundamental incompatibility that there is a mind interested in the mechanical phases of playing and a mind filled with what is loosely known as musical temperament. There is a fear, furthermore, that a persistent use of the reasoning mind in reference to the "   

.... and this is all I got. I need what he is saying next!!

I have to turn in the assignment on tuesday the 30th of january by the way...

I hope you can help me.

[ramseytheii]

I don't want to make light of your problem but it's very funny to me because one imagines that the sentence that comes next is going to be very, very important, explaining this terrible fear, and we will never know what it is.  Therefore I will finish the quote from my own imagination, and invite others to do the same.  Before anyone gets irritated at me again since it seems that has been happening a lot around here lately, let it be known that by posting these irrevent "completions" we are keeping this poor fellow's topic at the top of the heap just in case someone comes along who does have this book.

”The general hostility to the idea of method derives much of its vitality, i believe, from a half-conscious and almost universal suspicion that there is a fundamental incompatibility with a mind interested in the mechanical phases of playing and a mind filled with what is loosely known as musical temperament. There is a fear, furthermore, that a persistent use of the reasoning mind in reference to the mechanismus will cause a complete and total mental breakdown, inviting the heretofore unheard-of possibility of the teacher's destruction along with the student's.  The abovementioned hatred serves as a social filtering device, protecting the wiser from destruction by deranged, deadly students clamped to a method like the village idiot in the stocks."   

Walter Ramsey

[amanfang]

This book is in our library.  I can get it Monday (it is closed Sunday).  So unless someone posts before then, I can get it sometime on Monday.

[gidselgrisen]

Thatīs one of the most amazing things I have ever heard. A person on the other side of the globe who doesnīt know me actually offers to go to the library and pick up a book to get a quote for my paper.
If you could try and do this for me, even if the book may prove to be unobtainable, I would not only be really, really grateful; Iīd also always have an argument against any person who questions the goodness of mankind.
Thank you good person!

[amanfang]

It's no big deal.  I completely understand your predicament and sympathize.  I'm at school also, and the music library is just right across the street.  I'm in there every day, and it won't take but 5 minutes to check out the book and find the quote for you. 

[pianistimo]

this quote isn't by schultz and it doesn't finish the quote you started - but it is an interesting one about methods:

'the music teacher came twice a week to bridge the awful gap between dorothy and chopin.'

[amanfang]

Ok...here it is...to the end of that paragraph.

"...in reference to the to the objective phenomena of technique results finally in the deterioration and atrophy of the subjective emotions upon which the interpreter's art depends.  This is not, I believe firmly, too bald a statement of the case.  It explains the widespread custom of camouflaging purely technical instruction with references to expression marks and with what are often entirely gratuitously rhetorical flights on the beauty of the music in hand.  It explains the defiant and insistent sentiments with which theorists are wont to commingle their technical precepts - sentiments all handsomely to the effect that music, after all, is the thing.  It explains the ever present bete noir of all our pedagogy - overemphasis on the technical phases of playing.  It explains the sharp resentment of technique unaccompanied by interpretative insight, as if the technique were the cause of the emotional insensibility."

That last line there goes onto pg. vii.

Hope you can get this in time.   

[gidselgrisen]

Yes! YES! YEEEESSS!!! Thatīs it! Thatīs the quote I need!!!
I canīt believe this! 
You saved my assignment!

Thank you so much, my friend!!