Certainly! Here's the text from your presentation transformed into bullet points:

- Prolongation in film music
    - Importance of harmonic impatience and tonal prolongation
    - Influence of German theorist Heinrich Schenker's work on prolongation
    - Modern usage encompasses linear procedures and abstract diatonic functions
- Example: "The Picnic" from Miklós Rózsa's score to Spellbound (1945)
    - Pastorale accompanying a stroll between Dr. Petersen and Dr. Edwardes
    - Ternary form prolonging D major with contrasting middle section in tonicized subdominant G major
    - Use of harmonically far-out point in B major for dramatic effect during stumbling moment, resolving back to D 
- Challenges to Schenkerian analysis in "The Picnic"
    - Prolonged seventh and added sixth chords, parallel octaves, modally mixed plagal cadence disrupt conventional expectations 
- Idiosyncrasies of tonality earning in film music 
    - Contrast with Romantic concert music where key is more nebulous 
    - Film music driven by dramatic effect rather than structural coherence  
- Example: Max Steiner's score for She (1935)
  	- Astonishingly abrupt modulation at the movie's end for surprise effect 
  	- Climactic statement of love theme resolves to D♭ major but quickly shifts to E major for strangeness and adventure   
  	- Undermining monotonality as an expressive device without narratival or visual motivation 

Let me know if there are any specific changes or adjustments you'd like me to make!