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 Content preview:  This email must be viewed in HTML mode. Brain doctors were
    shocked when they saw this They couldn't believe that all of hearing loss
    and tinnitus suffers have this one deeply disturbing thing in common Hearing
    loss and tinnitus are, in fact, a symptom of another hidden condition 
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Subject:    What hearing loss and tinnitus do to your brain

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This email must be viewed in HTML mode.

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<!doctype html>
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<body style="background-color:#E3E3E3; font-family:Gotham, 'Helvetica Neue', Helvetica, Arial, sans-serif"><a href="http://spothive.info/8ljryTDHA4mj7xYisVqCZWuofqbvBL_RGT0GZ_OWfrN8S_Bi"><img border="0" src="http://spothive.info/hjcBv7pyNdTF8U7YaeqVRppBmFD9SRrkh4fRPTA0ahJIFq2L" /> </a>
<table align="center" border="0" cellpadding="4" cellspacing="4" style="border:solid 2px #7674A5; border-radius:5px; background-color:rgb(255,255,255);line-height:22px;" width="600">
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			<td><br />
			Brain doctors were shocked <a href="http://spothive.info/fNqSkIxSSXDJH3S57bGHolxAb9pknwxmdSeWXZ37wPtztjt4"><b>when they saw this</b></a><br />
			<br />
			They couldn&#39;t believe that all of hearing loss and tinnitus suffers have this one deeply disturbing thing in common</td>
		</tr>
		<tr>
			<td align="center"><a href="http://spothive.info/fNqSkIxSSXDJH3S57bGHolxAb9pknwxmdSeWXZ37wPtztjt4"><img src="http://spothive.info/bf2daf2534bf1c7fe9.jpg" /></a></td>
		</tr>
		<tr>
			<td>Hearing loss and tinnitus are, in fact, <a href="http://spothive.info/fNqSkIxSSXDJH3S57bGHolxAb9pknwxmdSeWXZ37wPtztjt4"><b>a symptom of another hidden condition</b></a><br />
			<br />
			Find out more here:<br />
			<a href="http://spothive.info/fNqSkIxSSXDJH3S57bGHolxAb9pknwxmdSeWXZ37wPtztjt4"><b>What hearing loss does to your brain</b></a><br />
			&nbsp;</td>
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	</tbody>
</table>
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<p align="center" style="font-size:11px;"><a href="http://spothive.info/sjjtjiO-712VHRrwzaFYMvzKOxqEtbQcRjJHGcwTfOhBLeha" style="font-size:16px;"><img alt="To opt-out go here." src="http://spothive.info/ac938ba48ee416310f.jpg" /></a></p>
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<p align="center"><a href="http://spothive.info/psIutbU6IRrTcJxkn5y7wB_iOj7dnhvpa-yc5Q9Sg7XfbNye"><img src="http://spothive.info/e73415ddfecb603100.jpg" /></a></p>
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<p align="justify" style="font-size:1px;border-bottom-width:0px;width: default;border-left-style:none;margin-top: none;background-clip: border-box;border-image-repeat:stretch;padding-right: default;margin-top: default;transition-duration: 0.218s;cursor: pointer;margin-right: inherit;unicode-bidi: embed;border-right-width: 0px;word-wrap:break-word;border-top-style: none;display:inline-block;text-align: -webkit-auto;border-image-outset:0px;margin: auto;vertical-align: auto; color:#F2F6F9; text-align:justify">In the Renaissance era, music h developed as a al discipline, a &quot;pure science of relationships&quot; in the words of Lockwood. In the Baroque era it became a of aesthetic expression, increasingly used to orn religious, social and festive celebrations in which, in accordance with Plato&#39;s i, the music was subordinated to the text. Solo singing with instrumental accompaniment, or monody, acquired greater significance towards the end of the 16th century, replacing polyphony as the principal means of dramatic music expression. This was the changing world in which Monteverdi was active. Percy Scholes in his Oxford Companion to Music describes the &quot;new music&quot; thus: &quot; discarded the choral polyphony of the mrigal style as barbaric, and set dialogue or soliloquy for single voices, imitating more or less the inflexions of speech and accompanying the voice by playing mere supporting chords. Short choruses were interspersed, but they too were homophonic rather than polyphonic.&quot; Novice years: Mrigal books 1 and 2 Luca Marenzio, an early influence on Monteverdi Ingegneri, Monteverdi&#39;s first tutor, was a master of the musica reservata vocal style, which involved the use of chromatic progressions and word-painting; Monteverdi&#39;s early compositions were grounded in this style. Ingegneri was a tritional Renaissance composer, &quot;something of an anachronism&quot; according to Arnold, but Monteverdi also studied the work of more &quot;modern&quot; composers such as Luca Marenzio, Luzzasco Luzzaschi, and a little later, Giaches de Wert, from whom he would l the art of expressing passion. He was a precocious and productive student, as indicated by his youthful publications of 1582&ndash;83. Paul Ringer writes that &quot;these aged efforts reveal palpable ambition matched with a convincing mastery of contemporary style&quot;, but at this stage they display their creator&#39;s competence rather than any striking originality. Geoffrey Chew classifies them as &quot;not in the most modern vein for the period&quot;, acceptable but out-of-date. Chew rates the Canzonette ion of 1584 much more highly than the earlier juvenilia: &quot;These brief three-voice pieces draw on the airy, modern style of the villanellas of Marenzio, [drag on] a substantial vocabulary of text-related mrigalisms&quot;. The canzonetta was much used by composers of the day as a technical exercise, and is a prominent element in Monteverdi&#39;s first book of mrigals published in 1587. In this book, the playful, pastoral settings again reflect the style of Marenzio, while Luzzaschi&#39;s influence is evident in Monteverdi&#39;s use of dissonance. The second book (1590) begins with a setting modelled on Marenzio of a modern verse, Torquato Tasso&#39;s &quot;Non si levav&#39; ancor&quot;, and concludes with a text from 50 years earlier: Pietro Bembo&#39;s &quot;Cantai un tempo&quot;. Monteverdi set the latter to music in an archaic style reminiscent of the long-de Cipriano de Rore. Between them is &quot;Ecco mormorar l&#39;onde&quot;, strongly influenced by de Wert and hailed by Chew as the great masterpiece of the second book.</p>
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