Hidden in Plain Sight: The Hermann Klein Phono-Vocal Method Based upon the Famous School of Manuel García by daniel james shigo

Lost teachings of the father of voice science

HERMANN KLEIN was an Englishman and student of legendary voice teacher Manuel García, and brought his master's method to America in 1901. While teaching in New York City, Klein wrote a remarkable 84-page singing manual for each voice type using the new technology of the gramophone. In a well-documented introduction, DANIEL SHIGO recounts how Klein's manual was rediscovered after being lost for more than a century, discusses its importance for modern students and teachers of singing, and addresses the controversial subject of voice placement. 

The introduction to this pedagogic treatise reads like a detective novel.
— The Journal of Singing

Republishing Klein's historic manual brought to light a complete set of twenty rare contralto recordings. The vocalist was Klein's student Janet Spencer, who was accompanied by Klein on the piano. The availability of these historic recordings is quite unusual since no recordings are known to have survived other than three soprano discs at Yale University. We owe the existence of the Janet Spencer recordings to the generosity of John Wolfson, a record collector and patron of the arts in New York City. 

You can find the Janet Spencer recordings at Soundcloud and Youtube.

What is said in these pages takes the place of what should proceed from the mouth of the teacher.
— Hermann Klein


The introduction to this pedagogic treatise reads like a detective novel. Those interested in historical vocal pedagogy will find this volume fascinating, and all serious students of voice will benefit from the succinct and straight-forward instruction offered by Klein.
— The Journal of Singing
This is a valuable reissue of a major course of vocal study by a pupil of one of the most famous teachers of all time.
— Fanfare Magazine
Daniel Shigo is the vocal Indiana Jones!
— Justin Petersen
This is much more than just a piece of vocal archaeology. It takes the art of teaching back to foundational elements of voice training: no acoustic analysis, airflow studies, no closed quotients—only simple concepts and effective exercises that are tried and true, developed through decades of trial and error and proven over scores of years in studios all over the world. Would that our voice teaching profession take heed and return to simple things as presented in this little book.
— Stephen F. Austin