INDEX FOR VOLUME XXXIV (2010-11) Barham, Jeremy—Recurring Dreams and Moving Marks, Martin—Screwball Fantasia: Classical Images: The Cinematic Appropriation of Music in Unfaithfully Yours Schumann's Op. 15, No. 7 271 Platte, Nathan—Dream Analysis: Chapin, Keith—Time and the Korngold, Mendelssohn, and Musical Keyboard Fugue 186 Adaptations in Warner Bros.’ Chua, Daniel K. L.—Listening to the Self: The A Midsummer Night’s Dream (1935) Shawshank Redemption and the Technology Pontara, Tobias—Beethoven Overcome: of Music 34] Romantic and Existentialist Utopia in Citron, Marcia J.—The Operatics of Andrei Tarkovsky’s Stalker Detachment: Tosca in the James Bond Ritchey, Marianna—Echoes of the Guillotine: Film Quantum of Solace Berlioz and the French Fantastic Ronyak, Jennifer—“ Serious Play,” Contributors—106, 298, 356 Performance, and the Lied: The Dolan, Emily I—The Work of the Orchestra Stagemann Schéne Miillerin Revisited in Haydn’s Creation Sholes, Jacquelyn—Lovelorn Lamentation, Eatock, Colin—The Crystal Palace Concerts: or Histrionic Historicism? Reconsidering Canonicity and the English Musical Allusion and Extramusical Meaning in the Renaissance 1854 Version of Brahms’s B-Major Trio Gramit, David—Everyday Extraordinary: Smart, Mary Ann—Parlor Games: Italian Music in the Letters of a German Music and Italian Politics in the Amateur, 1803-08 Parisian Salon Counterpoints: Nineteenth-Century Music and Literature 19th. Century Music is sponsoring this one-day interdisciplinary conference at Fordham University’s Lincoln Center campus on Saturday, October 22, 2011. Graduate students, part- time and junior faculty are invited to submit abstracts (maximum: 500 words) to the editor, Lawrence Kramer, [email protected], by June 30, 2011 (extended from April 30). Papers selected for presentation will be considered for publication in a special issue of the journal. The topics may range as widely as the contributors’ imagination can compass. Possibilities include, but are by no means limited to, portrayals of music or musicians in nineteenth- century literary works, musical representations in nineteenth-century music of literary genres, characters, or texts, literary opera, incidental music, aesthetic theories, models of performance, treatments of nineteenth-century music in twentieth- and twenty-first-century literature and film, treatments of nineteenth-century literature in twentieth- and twenty-first-century music, including opera and film music, and—the list goes on. As always, we define the chronological borders of the nineteenth century very loosely. We are also considering a piano recital combining old and new compositions inspired by literary works and would like to feature a group of younger pianists from the same pool of applicants as the CFP. If you would like to be considered for a spot on the program, please include a resume and performance sample. If the file size of the latter exceeds 10mb, please use a file delivery service such as Dropbox or YouSendlit.