The History

Music and medicine have enjoyed a long history together as allies in healing. “Men have song as a physician for pain” was a popular saying in ancient Greece. The Grecians believed music was capable of healing the body and soul. Apollo, the Greek God of Medicine, was also the God of Music. Ancient Greek and Egyptian schools considered sound a sacred science. Sacred sound has been embraced by Christians, Hindus, Buddhists and many indigenous cultures to heal the sick and comfort the dying.

Music-thanatology, as it is practiced today, is the life’s work of Therese Schroeder-Sheker. As a young employee in a geriatric home, she encountered a resident actively dying from emphysema. As his lungs filled with fluid, his breathing became increasingly labored. Suffering, frightened and alone, he cried out. Therese instinctively began singing to him. During the music, the resident calmed and his breathing eased. Therese would later base this offering of music at the end-of-life on the monastic traditions of the Benedictine monks in Cluny, France, and their use of sacred music to care for their infirmed and dying brethren. The practice was expanded to encompass all faith traditions, spiritual beliefs and cultures.

The Vigil

The time a music-thanatologist spends with a patient and family is referred to as a ‘vigil.’ Vigils typically last from thirty minutes to one hour. All those present are encouraged to ‘rest into the music’ in any way that is beneficial and most comfortable for them. Some may choose to sit in silence, while others quietly engage in conversation. It’s not uncommon for family members to shift positions in the room to gather around the bedside of their dying loved-one. Any activity, behavior or emotion that arises during vigil will be supported by the music, thus creating a safe and sacred space to be shared by all.

The Music

The music played during a vigil is usually quiet, peaceful and meditative. The contemplative nature of the music encourages an inward journey, supporting whatever work may be necessary—physically, emotionally or spiritually—for the dying person to ‘excarnate’ or let go in their own unique and personal way. The certified music-thanatologist uses both sacred [Gregorian chant, hymns, prayer, praise songs and tones] and secular pieces [lullabies, ancient melody and traditional forms]  as a foundation for a musical ‘prescription.’ The raw materials of music, called musical elements, are skillfully woven together to create a tapestry that gently embraces and supports the patient and family.

The Practice

Music-thanatologists are employed by hospitals and hospices, in organizations and facilities that serve end-of-life patients and elders, as well as in private practice across the US, Europe, Asia and Australia.