HOW TO LAUGH IN TUNE.

Wairarapa Age, Volume XXXI, Issue 3004, 29 September 1908, Page 3

HOW TO LAUGH IN TUNE.

ift school of music that will include Wbohs in laughing in its curriculum twill be founded shortly in Milan. It is suggested by several musical ' .experts that a scnobl of this nature jshjuld be organised in England, as • -the English as a nation are noted for -.their discordant laughter. A ■paper representative asked the views.'of Mr Noel Fleming, the tenor, who has made a special study ot permanent injuries and defecta of the vocal •chords. "A school of laughter is a great, .deal more essential in England than ' )in Italy," Mr Fleming said. "We t,all know the finest voices come from Italy, and are in most cases naturally produced. , "The Italian laugh is never out of tune, while in E igland moat people Ilaugh in their throats, and the result as a discord. The necessity for 3 essons in laughter is very urgent. In mmy cases laughter does real Larm. "I have often noticed in a theatre judience that the laugh of a professional man or woman singer will \ Ting nut above all others. This is fi-irrweause the laugh is louder, but lie.'BUae it is properly produced, and therefore carries. "One often hears the expression, 'Laughiiig has tired rae out.' This , sh.iuld not be. A properly produced liuih is a healthy form of exercise, aid can never tire one. A wrongly produced laugh is unmusical, connive to hiarae-ieis because of the pain and irritation to the vocal •chord?. . . "i'lidra are six qualities of voices —ba«, baritone, tenor, in men, and contralto, mezzn-sooran'o, >and soprano in women. The laugh should ■ eorr-npjnd wiiti these renters, but unfortunately, with the exception of trained voices, this is not the case. "Thus wo frequently find a contralto trying to laugh in the soprano key and unconsciously injuring her vocal chords. Most negroes laugh correctly, although it may not sound very refined."