2015 Jean Madden – Nurturing Spiritual Needs of Forgiveness in Daily Life and in the Sacramental Setting of Music-Thanatology.pdf

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Nurturing Spiritual Needs of Forgiveness in Daily Life and
in the Sacramental Setting of Music-Thanatology

MUSIC-THANATOLOGY PROGRAM
LANE COMMUNITY COLLEGE

PROFESSIONAL/ACADEMIC PAPER

Jean Madden
April 19, 2015

Copyright © 2015 Jean Madden
All Rights Reserved

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Acknowledgements

I would like to thank my father for his influential role in setting me on the path to pursuing a
career in the field of Music-thanatology. I believe he has been the instrumental force that has
guided me throughout all of my life and has taken me to where I am today. The impact of his
death when I was a small child left an impression on my soul, later becoming a beacon of light,
illuminating and guiding my destiny. I owe gratitude also to my husband for his role in
researching and connecting with influential music-thanatologists and arranging my first harp
lesson with Suzanne Cerddeu. As a Christmas gift from my husband and two daughters, this first
lesson set in motion the next phase of my life.
My interest in the topic of forgiveness peaked after viewing a video called, Gone from
My Sight, by Barbara Karnes, a hospice nurse. She states that people at the end of life can
literally become locked in their body if issues around forgiveness are unresolved. I found this
unsettling and wanted to learn more on the topic. I’m grateful to a nursing colleague who brought
this video to my attention when I was researching a topic for my paper.
In addition, motivation for writing this paper stems from the empowering influence I
gained through learning about the monastic ritual practices of the monks of Cluny in Eleventh
Century France. It puts into perspective my own faith and ritual practices through learning how
forgiveness was of utmost importance to the monks, engrained in their daily lives and especially
at the time of death. It seems time has no relevance when it comes to the fulfillment of spiritual
needs such as forgiveness. Through exploring this topic on forgiveness, I hope to develop a

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better understanding of how I, as a music-thanatologist, can assist patients with issues around
forgiveness at the end of life.
Music-thanatology, as a contemplative practice, addresses the needs of the whole person:
physically, emotionally and spiritually. It is a modality that combines music and medicine in end
of life care. Music-thanatologists receive specialized training in prescriptive delivery of music,
harp and voice, to accompany patients and ease suffering at the time of death. Distress related to
pain, anxiety, fear and shortness of breath can be alleviated. The music-thanatologist holds vigil
with the patient; this may include family and friends, and can last anywhere from twenty
minutes, up to an hour or more. As a clinician within the spiritual care team, the music-
thanatologist is an essential link working alongside other specialists in tending to the palliative
needs of patients.
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Cross-culturally over millennia, the act of offering and receiving forgiveness has been
considered an essential spiritual need for all humans. At the time of death, issues of forgiveness
often become a priority with the desire to mend past grievances and reconcile relationships. It’s
during this time of suffering that one is able to put life into perspective, prioritizing what is
important. This existential yearning, originating from the depths of the soul, urges one to a state
of wholeness.
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How can we prepare for our own death? If the need for forgiveness is so important at the
end of one’s life, how can one nurture and cultivate it, so as to be ready? How can we live out
the practice of forgiveness in our own lives, thus freeing the soul and ultimately anticipating our
own death? Additionally, what does the practice of music-thanatology bring to the bedside of the
dying?

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These questions, as well as others encompassing the multi-faceted aspects of forgiveness,
will be discussed in relationship to self, others and God, with a key focus on end of life concerns.
Topics include a brief historical overview of Christian death customs, exploring deeper the
practices of the monks of Cluny in Eleventh Century France and their inspiration in today’s ritual
practice of music-thanatology. The influence of the Cluniac monks, who valued the importance
of forgiveness as a vital spiritual need, will be highlighted as it pertains to addressing the bedside
needs of the dying. A personal account of repentance is included, as well as self-care practices
useful in dealing with issues around forgiveness. In culmination, a sacramental view of the
music-thanatology vigil space, offering the possibility of anointing with sound is offered.
Asperges me, an important chant of forgiveness, used at Cluny and today in the setting of music-
thanatology, will be explored for its musical elements and gesture of absolution.
Historical View of Christian Death Customs
The Benedictine Monastery of Cluny, France was founded in 910 AD. In the Early
Middle Ages, 600-1000 CE, Western Christian practices transitioned to distinct religious
affiliations instead of by regional identification. For Western Christians, a change in attitude
arose around death with a need to deal with original sin. Death became more individualized and
emphasis was placed on rituals to guide and protect the soul in the afterlife.
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A multitude of
Christian kingdoms emerged as the Roman Empire declined, promoting the development of local
churches. These churches, then, developed their own rituals in response to death and dying. A
ritual process had emerged by the end of the ninth century that combined the psalmody of the old
Roman rites with the interest for penance and purification of the early medieval world. Ritual
was incorporated into every facet of life that would transition one from this world to the next. All
rituals were finely orchestrated and harmonized socially and architecturally. During the tenth and

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eleventh centuries the ritual complex reached its zenith at the Burgundian monastery of Cluny,
France.
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Ritual Practice of Music-Thanatology
Many familiar threads are interwoven between the current practice of music-thanatology

today and the ancient practices of the monks of Cluny in Eleventh Century France. Music-
thanatology, as a form of ritual, can be helpful in supporting patients at the end of life.
Prescriptively delivered music at the bedside offers the possibility of relieving spiritual suffering,
such as issues around forgiveness. Music-thanatology, as a form of ritual, supports patients and
loved ones while creating meaning in the face of mortality and suffering. Rituals in general can
be supportive during transitional stages in life, such as death, when there is separation from one
state of being, shifting toward reincorporation to another phase. Anthropologist, Arnold van
Gennep, outlined three phases to all rites of passage: separation, liminality, and re-incorporation.
The intermediate stage of liminality exists as one teeters, not fully engaged in the present state
nor in the new role or form of being.
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The music-thanatologist acts as a conduit bringing beauty
and spirituality to life through the medium of sound. This sacred setting can offer comfort and
safety through music for the patient, as well as loved ones present while supporting the stage of
liminality. Music, instead of spoken words, becomes the foundational tool supporting the stages
of ritual at the bedside. This modality is inclusive to all of humanity, regardless of faith, race,
ethnicity, gender, age or affliction.
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The infirmary practices valued by the monks so long ago offers inspiration for current
modalities used in the field of music-thanatology. Commonly shared themes revolve around the

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ritual of creating a space of beauty, while prayer, in the form of chant, is the means to connect
spiritually with the dying. Other shared aspects include community involvement of family and
friends, as well as approaching the dying in a holistic manner, encompassing the physical,
emotional and spiritual needs of the person. “Modern science and medicine have taught
humankind a great deal about death, and about how to treat the sick and the dying, but they have
been unable to give death the kind of meaning that it had for medieval Christians”.
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Medieval Death Practices of Cluny France
Therese Schroeder-Sheker, founder of the field of Music-thanatology, writes in her
article, Music for the Dying: A Personal Account of the New Field of Music Thanatology
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of the
infirmary practices developed by the monks of Cluny, France. Practices included addressing the
dying patient needs from a holistic approach, taking into consideration aspects encompassing the
mind, body and spirit. The monastic medicine was “care of the body and cure of the soul.”
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These practices were documented in The Customaries of the Benedictine monks in the later part
of the Eleventh Century by two Cluniac monks, Bernard and Ulrich.
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The ritual of forgiveness
and cleansing the soul was the first step in the infirmary practice after one announced that his
death was approaching.
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Of great importance to the life and spiritual community of Cluny was the need for beauty.
This aspect of beauty was viewed and understood as an essential human need. To experience all
things beautiful offered the possibility of drawing one closer to the likeness of God. Beauty was
embodied in the routine daily practices of the monks, exemplified musically and architecturally
within their environment.
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For the monks of Cluny, forgiveness as a way of cleansing the soul
was an essential human need, one leading to beauty, especially at the time of death.

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Eleventh century practices of repenting, whether in public or private required the gestures
and body language of humbly expressing forgiveness. Confessing was not made directly to God,
but interceded by a priest, within sight of God. “The act of penance required the sinner to
humiliate himself …by prostrating himself on the ground and humbly beseeching the priest to
intercede for him and his sins with God. Penitential supplication was so important to the life of a
Cluniac monk that the first thing a novice learned upon entering the monastery was how to make
his petition; and first they are to know how to beg pardon upon his hands and knees three times
before the abbot, always turning in a circle upon his haunches, and finally prostrating himself in
prayer.”
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Acts of forgiveness were not only important at the time of death, but considered
common practice throughout all of life for those living at Cluny.

As outlined by Frederick Paxton, author of Christianizing Death: The Creation of a
Ritual Process in Early Medieval Europe, it was of extreme importance to the monks that no one
should die alone. The community as a whole was involved in every step of the ritualistic aspects
of the dying process. After confessing to the abbot, a public confession was made to the
community in which one begs for forgiveness in attempt for mutual absolution against previous
transgressions, animosity or any other unfinished business.
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Paxton continues, stating the goal
was to clear the soul, making way the journey to God a peaceful, blessed event. After absolution
the sacrament of anointing took place. The community gathered round the bedside of the dying
monk while chanting Psalm 50, Miserere mei. As the anointing by the priest takes place, the
seven Penitential Psalms are sung, representing the seven separate acts of anointing the eyes,
ears, lips, nose, hands, feet and testes. Now with all sins forgiven and absolution received, it was
believed to alleviate the pains of death.
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“After the final prayer all that remained was the wait
for death, and there was no reason for death to tarry.”
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For now the soul was cleansed and free

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of any barriers that might prevent one from a Holy death and entrance to paradise. Absolution,
through reading of psalms, burning incense and the sprinkling of holy water was again repeated
over the body at the time of the burial.
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Over the many centuries since Cluny, the practice of closely tending to spiritual concerns
has become less important in our western contemporary world. Daniel Callahan, a bioethicist,
shares his concern: “The image of the ideal self rests on two convictions…that nature can be
brought under human control, made to do what we want it to do. The other, emerging later but
coming to a fine point in the late twentieth century, is our autonomous right to find our own
individual way, to control our living and our dying.
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In our Western world, science has taken on
a Godlike power, creating within our culture a sense of immortality. More emphasis is placed on
the physical needs of the dying in attempting to cure and prolong life, instead of assisting one
through a holistic approach of tending to the body and curing the soul.
Need for Spiritual Fulfillment at End of Life
Steven Levine, author of Healing Into Life and Death, points out that we enter the
process of death as a beginner, “We take each breath as though it were the first, watching each
thought as though it were the last, becoming wholly alive.”
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Our life views and attitudes change
while a new awareness arises of those aspects most important in life. No longer are material
possessions of value or significance. The needs of the soul take precedence at the time of dying.
Concerns of spiritual fulfillment become the focal point while all else is deemed insignificant
and void of meaning. It’s as though one finds meaning in life as death approaches and then truly
starts to live. Through this period of awakening, the inner musings confront us with all that is left
unfinished in regards to projects, relationships, a life only partially lived, dreams and hopes.

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Relational interactions move to the forefront with the desire to mend past grievances and in a
way, complete relationships. “Dying is the quintessential spiritual teacher and experience… The
process of dying forces us to a depth of feeling that is usually below the threshold of awareness.
Profound healing naturally occurs…with this healing unfolds our transpersonal self.”
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Spiritual pain, regardless of place, time or culture, typically encompasses four major
areas of thought: meaning, relatedness, hope and forgiveness.
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In the midst of illness it’s natural
to search for meaning and purpose, especially when faced with a terminal disease. Feeling
connected and having a sense of belonging helps one cope with the burden of disease while hope
provides strength in light of disenchantment. Groves and Klauser state in their book, The
American Book of Living and Dying, that at the end of life, most spiritual pain is related to issues
around reconciling. “…forgiveness pain could be called the common cold of spiritual pain.”
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Meeting these spiritual needs can be difficult in our western world today as involvement
in faith-based religion has declined. Subsequently the loss of community support and the practice
of ritual that often accompany significant stages and milestones of life are absent. This can leave
one bereft of direction and guidance throughout life, as well as at the end of the journey.
It seems easier to suppress feelings and accept life as it is, liberating one from the
unresolved conflicts that have become an integral part of one’s existence. However, our inner
soul and spirit may demand more from us, creating a yearning or inner angst that motivates us to
make things right in the eyes of God. Those with many unresolved issues and past holdings find
it difficult to “let go” at the end of life.
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Barbara Karnes, RN, has worked extensively with
hospice patients. She states that one can literally become locked within their body when
unfinished business is unattended, making the length of labor much longer at the time of death.
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These matters of conflict become tightly interwoven into the fabric of being, making it difficult
to find a resolution. The timing of one’s death can often correlate with the fulfillment of vital
needs. A sense of completion can liberate the dying, facilitating the release of all that is yet
holding on, allowing the ability to “let go.” If this awareness of making things right comes later,
when death is imminent, the person may delay or prolong dying.
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It is forgiveness that eases the
path or as Levine states “…acts almost as a kind of lubricant to allow the yet held to slip lightly
away.”
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The accumulation of events over a lifetime can become deeply rooted within the
nervous system of our bodies, requiring one to revisit those events in order for healing to take
place.”We need to return to the ‘scene of the pain’ for healing and release.”
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Music-Thanatology
has the capacity to attend to those deep, universal needs and help facilitate healing.
Forgiveness is multi-dimensional in nature. By definition, to forgive means “to stop
feeling anger toward (someone who has done something wrong): to stop blaming (someone)”,
whereas to grant absolution is “the act of forgiving someone for having done something wrong or
sinful.”
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Forgiveness can lead to a reduction of negative thoughts, feelings and behavior while
leading to a more overall positive attitude of self and relationships. Forgiving can be difficult and
the cost too high for some. This leads to a compromise in moral integrity as a way of coping,
instead of actually engaging in the forgiveness activity that transforms the pattern of the
relationships. Sometimes forgiving oneself or God can be even more difficult than forgiving
others. It’s important to clarify what forgiveness is not. “Forgiveness is not condoning or
excusing ignorant or evil behavior. It is not denial of our own heart. It is not about inviting an
abuser back into our lives and it is not forgetting real wounds and betrayal.”
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Ira Byock, MD, is a leading palliative care physician and advocate for improving care
through the end of life. He is credited with four simple statements which he says are powerful

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tools for improving relationships and one’s life in general: “Please forgive me, I forgive you,
thank you and I love you.”
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These words apply at any time in life, not just at the end of life.
These affirmations sum up what his patients have taught him over many years in regard to what
is valued most in life. Relationships are on-going, even after death as loved ones live on within
us and become a part of our heart and soul. In that need for wholeness, Byock states, these four
statements can close the circle that had been broken.
Forgiveness has the possibility of healing generational wounds that are handed down
from one generation to the next. The cycle can be broken when the Four Things are said while
making a conscious effort to stop the legacy from continuing on.
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Forgiveness is a brave way of
acknowledging past shortcomings and imperfections while ultimately creating change in
behavior. Confronting these wounds through compassion, while not ignoring or making excuses,
leads to a healthier attitude and outlook for all involved. One can then experience a love that is
free of all bonds, a love that should be inherent in our daily lives.
Stories shared from Hospice settings have revealed that it is not so much forgiving the
other that is needed at the end of life, as it is forgiving oneself. Forgiveness of oneself, even at
the eleventh hour can bring peace of mind and lessen physical agony.
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“Remorse is a powerful
feeling state. Remorse subsumes, in a profound and higher-order feeling state, the residues of
regret still weighing on the heart and, in doing, dissipates those regrets, self-recriminations, and
feelings of guilt in its own purgative power…Self-forgiveness, arising out of remorse, can and
often does lead us to the level of peace and life resolution…”
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To give and receive forgiveness may be one of the greatest gifts one can possibly grant to
one’s self or to others. To truly love and forgive oneself opens a channel to receiving love from

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others. Viewing forgiveness as a valued gift holds the possibility of recognizing and
implementing its purpose in daily life. Pondering one’s death throughout life can ultimately be
beneficial. “By facing your own ultimate death, you learn to deal productively with each change
or small death that presents itself throughout your life.”
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Personal Account of Repentance
My most memorable experience of asking for forgiveness was as a young child growing
up in a predominately Catholic community. At the age of eight years, it was a rite of passage to
receive the sacrament of Reconciliation. Recalling back, there was a level of anxiety around the
expectations of confessing and asking for absolution. This experience is definitely one that has
remained with me throughout my life. From the viewpoint of a child, the confessional box was a
little eerie. There were three doors leading into this rather small wooden structure. The priest
occupied the middle space, while the confessors entered through the doors on either side. As one
entered and knelt down on the kneeler, it emitted a little squeak, mysteriously activating a
dimmed light within the room. At the same time a red light illuminated outside the door
indicating that side of the confessional was occupied. This space was the size of a small closet
and smelled like musky old wood. While kneeling, one was within inches of a lattice-decorated
divider, designed to allow one to hear, although not see the person on the other side. Behind the
lattice screen was a sliding wooden door used for privacy, preventing the penitent on the
opposite side from hearing the other’s confession. As I waited my turn, I could feel my heart
pounding in anticipation of the wooden door sliding open. What if I forgot my list of sins or
stumbled to recite the Act of Contrition? The words, however, remain fresh in my mind, “…oh

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my God, I’m heartily sorry for having offended thee, and I detest all my sins…”
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From there I
would confess my deep dark secrets of disobeying my mother, fighting with siblings and stealing
candy from my sister. Prior to leaving the confessional, the priest would dole out penance
equivalent to the misdeeds committed. This usually consisted of saying a few Hail Mary’s and
Our Father’s.
As I look back, I find the secrecy aspect of asking for forgiveness behind a lattice screen
rather amusing. However, today, I have a greater appreciation and understanding for this ritual,
having a clearer picture of its importance at the end of life. Intimidating as it was as a child, I do
believe it held me to a higher level of behavior, shaping the moral and ethical character of my
being. At the very least it encouraged me to think before contemplating wrong doing. Today,
confession is still offered and encouraged in the Catholic Church, although, with other options
such as, face to face and group type confession. Most world religions have a spiritual component
that includes repentance and forgiveness traditions. Beyond faith-traditions, self-discipline
practices such as forgiveness meditation and mindfulness can also be effective tools of bringing
forgiveness into one’s life.
What I find fascinating is the correlation between the forgiveness practices at Cluny,
France and similar practices of confession today, still held in high regard, but not always utilized.
This validates for me the practice of repenting that I haven’t fully understood or embraced over
the years. I recognize more fully its importance, intended to be utilized throughout the duration
of life and ultimately to prepare for one’s death. It’s impressive that this custom of repenting has
survived over the many years, since the days of Cluny, yet understandably so, as our need for
forgiveness remains the same today as it did years ago.

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Nurturing the Soul – Contemplative/Spiritual Practice
In our modern western world, how do we attend to the needs of the body, soul and spirit?
As our world veers away from the support of faith-based religion, should there be delineated
intervals in which one seeks a provider for spiritual and emotional concerns? When pertaining to
physical health, most choose to visit a physician at regular intervals to prevent disease and
illness. Emotional issues, on the other hand can be easily hidden, and become deeply ingrained
within the matrix of our psyche. Because physical ailments outwardly reveal illness, one is more
motivated to tend to those problems. However, how do we address the concerns of our soul?
Evidenced based medicine has proven that routine screening and testing can be helpful in
preventing disease. Studies of emotional and spiritual nature are less definable. Should it be the
job of medical physicians to suggest that patients need a spiritual work-up and to inform those
regarding symptoms of spiritual distress? After all, spiritual maladies can be more painful for
some to endure than actual physical pain, especially at the end of life. “Untreated, spiritual pain
exacerbates the physical pain and can lead to the terminal illness of the soul – hopelessness.”
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In the clinical setting, patient referral by medical providers to the spiritual care team is one way
of supporting the needs of patients. Music-thanatology is often included under the department of
pastoral care, offering a team approach with other spiritual care providers. Professional
development of spiritual care modalities, such as music-thanatology, for medical disciplinary
teams, is an important link in bringing awareness of available services.
It is well known that traditional Eastern medicine includes not only treating the physical
illness, but also addresses the needs of the whole person: body, mind and spirit. “The underlying
premise of Chinese medicine is that the mind and body of the person are inseparable. To be in
good health, a person must have good spirit and pay attention to cultivating their spirit. Chinese

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doctors see “people” not “diseases” and equate “curing diseases” with “curing people.”
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As
Eastern and Western Medicine converge, there is hope that we can benefit from one another.
Establishing contemplative routines for one’s self, such as an examination of conscience,
can be instrumental in addressing spiritual concerns. Steven Levine points out that “cultivating
forgiveness daily softens our life. It holds the possibility of freedom from the ancient
incarcerations of the judging mind… It makes room for life. It is the nature of the unobstructed
heart which dissolves separation and allows mercy and awareness to go beyond the
conditioned.”
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Through one’s own spiritual journey a transformation of consciousness can
occur, presenting a greater awareness of self and of the world within. Through this awareness,
the soul has the opportunity to emerge, becoming the beacon and guiding light, while assisting in
navigating the peaks and valleys of life. This inner compass of sorts tempers the ego, allowing a
path toward wholeness. The soul requires continual nurturing and sustenance in order for
spiritual growth to take place. When practicing contemplative disciplines, “there appears to be a
universal, sequential progression into deeper, subtler, and more enveloping dimensions of
awareness, identity… as a movement from the periphery into the Center.”
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These practices might
also include relaxation techniques or various forms of prayer and meditation; all beneficial
physically, emotionally and spiritually. Forgiveness meditation and mindfulness can be a way of
implementing forgiveness on a daily basis or working through a difficult situation in which
forgiveness may seem inconceivable.
Life review exercises can also be helpful in examining spiritual aspects throughout life.
Reports of near-death experiences have given us insight into the realms of death and dying. It is
described as though one is able to see the entirety of their life, sometimes in great detail. “We

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face old fears, renew our deepest commitments, admit regrets, seek forgiveness, and complete
our life’s work. Meaningfulness makes us well; meaninglessness makes us sick.”
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Sacramental View of the Vigil Space
“A sacramental perspective is one that sees the divine in the human, the infinite in the finite and
the spiritual in the material, the transcendent in the immanent, the eternal in the historical.”
Richard McBried
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Addressing and easing the spiritual needs of the dying through music-thanatology has its
roots in the customs of the monks in Cluny, France. When sacred music, such as chant, is offered
through voice and harp, the possibility exists to anoint by sound, facilitating a path for human
and divine meeting. Le Mee writes, “The music thanatologists who attend at the bedside are
skilled both musically and spiritually. They are able, through their own practice of presence and
caring, to provide an ‘anointment with sound’ that is extremely helpful not only to the patient, but
also to the grieving family members.”
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The etymological definition for anointing comes from the c1300 Old French word enoint
which means “smeared on.”

Originally in reference to grease or oil smeared on for medicinal
purposes, its use in the Coverdale Bible in reference to Christ’s mission (as in The Lord’s
Anointed) has spiritualized its vernacular.
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The act of anointing through sound, as a way of addressing spiritual needs, can be better
understood when considering the ritual practice of music-thanatology as sacramental. Saint

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Augustine, in the fifth century described a sacrament as, “An outward and visible sign of an
inward and invisible grace.”
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The etymological definition also refers to sacrament as Eucharist,
c.1200 and from Old French sacrament as consecration or mystery. Latin sacramentum refers to
a consecrating whereas the Spanish sacramento and German Sakrament come from sacrare, to
consecrate, a Church Latin loan-translation of Greek mysterion. The English meaning from late
14c was “a holy mystery.”
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Brian Gleeson, in his article Symbols and Sacraments: Their Human Foundations, states
that sacraments aren’t strictly concerned with the rituals of Christian faiths, but have more to do
with “…an experience of the presence of God in a range of human experiences.”
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John Shea,
who wrote Stories of God, speaks of human experiences as events such as birth and death and
describes these occasions as sacramental events, or, “Vehicles for contact with Mystery,” and
“Paths to an awareness of Mystery”.
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“In sacramental encounter, God remains Mystery, for God
is incomprehensible. While in sacramental encounter God does emerge from hiddenness and
makes himself known, this is only in part. Even as he is revealed, he remains concealed, baffling,
transcendent, beyond, other, mysterious.”
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Human experiences can include any situation that
encourages one to go beyond basic understanding, contemplating the complex issues around
birth, life and death.
Albert L. Blackwell has written a book titled The Sacred in Music.
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His research
contemplates the interrelatedness of music and theology. He states, “I believe music offers divine
epiphany, real presence, and for this reason I prefer the adjective ‘sacramental’.” He goes on to
say, “…it is not music but rather the science of music that had its origin in Pythagoras’s acoustical
discoveries. Those discoveries led to the philosophical conviction that as mathematics expresses
cosmic order, so music echoes cosmic harmony. The Incarnational tradition grows out of

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encounters with the divine in the material world perceived by our senses.”
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Simone Weil offers
another description of sacrament, similar to Blackwell’s. She defines a sacrament as having “…a
specific value, which constitutes a mystery in so far as they involve a certain kind of contact with
God, a contact mysterious but real.”
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She speaks repeatedly of beauty as “the real presence of
God in matter” and of contact with beauty as “a sacrament in the full sense of the word.”
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For
Weil, “…Gregorian chant epitomizes the beautiful, perhaps surprisingly because of its share of
monotony. This beautiful monotony, as opposed to a mechanical monotony of factory work or of
the clock, finds its model in the perfect regularity of the sky’s revolutions that permits the
rhythm of agricultural work, the only work that puts us directly in contact with the universe.”
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The sacred music of chant, or in other words sung prayer, was the medium used in the
death bed rituals at Cluny to assist one transitioning to the next spiritual realm of life. Katharine
Le Mee credits the Benedictines for preserving chant. She states, “Chant is not a gift that the
Benedictines have created, since its roots go back we know not where or when – no doubt to the
whisperings of the Holy Spirit itself into the ears of countless generations of anonymous
composers.”
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The chants were expressed musically and notated through the eight ecclesiastical
modes which represented the musical language of chant. “Over the centuries the intonations
became ornate, just as the buildings and windows did, and many of the chants became miniature
masterpieces equal to the architectural masterpieces for which they were written.”
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Great
intention was given to the placement of the neumes that helped to render the prayer and convey
the message within the prayer. The message of the text is conveyed through the musical
elements, no knowledge of Latin is required. As music-thanatologists offer Gregorian chant at
the bedside, it is these musical elements which convey meaning and can resonate deeply within
the patient’s soul.

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Plato associates the various musical modes from Greek tradition with distinct effects on
the soul, from “intoxicating to clarifying, and from enervating to invigorating.” Robert Reilly
quotes Plato in his article, Is Music Sacred?, stating “Rhythm and harmony find their way into
the inward places of the soul, on which they mightily fasten, imparting grace, and making the
soul of him who is rightly educated graceful.”
55
Gregorian chant speaks directly to the soul,
which desires harmony, peace and connection to the Divine.

Asperges me
56
– Chant of Forgiveness
Thou wilt sprinkle me, O Lord, with hyssop and I shall be cleansed
Thou wilt wash me, and I shall be washed whiter than snow.
Pity me, O God, according to Thy great mercy.
Asperges me is a Latin antiphon, which is sung with Psalm 50. It was used in the death
rituals of Cluny and specifically addresses forgiveness, offering the possibility of anointing by
sound. Asperges me was an important chant used at the anointing of the body, as well as during
the washing and shrouding of the body after death. It was also recited at the burial service at the
cemetery. Today this chant accompanies the sprinkling ritual of the congregation by the
celebrant with Holy water, symbolizing the cleansing of the people. Music-thanatology offers
this chant at the bedside, not as a religious practice, but to address the universal need for
forgiveness and reconciliation.
Taking a closer look at the overall gesture and musical elements within the Asperges me
text offers a reference of thought to contemplate and utilize when prescribing this chant in the
vigil setting. Starting with the antiphon, the penitent is asking to be sprinkled with hyssop by

20

God and absolved of sin, a profound universal human expression. The neumes flow in a mostly
step-wise manner in this section, similar to a meandering river. The water is representative of the
symbolic sprinkling or cleansing the soul to become whiter than snow. This movement offers
strength and safety at a time of great discernment. The largest interval in the melody line is a
third, viewed as experiencing the inner self, as an examination of conscience is made prior to
asking forgiveness.
The most powerful and moving section of this chant, is Psalm 50 where a contrite plea is
made to God, the most Holy One, asking for his divine mercy. In this segment the reciting tone
brings focus to the text, creating a conversational element. The movement of the neumes around
the tonal center of the dominant (especially in the first phrase) serves as though framing a
question, where a plea for absolution is being asked. Intervals, opening as large as a fourth,
represent the border between self and the entrance to the spiritual world, namely God, as
forgiveness is petitioned. The inflection of tone is enhanced with a fourth leap interval at the
onset and the dotted neumes at the end of the phrase, rendering pauses within the text as though
some uncertainty of being forgiven exists. One can picture the penitent on bended knee, looking
up toward the Divine with pleading eyes.
A lowered seventh, the only minor interval within the Mixolydian Mode, expresses a
minor tonality, especially on words carrying more weight, such as, “mercy,” “domine,” and
“Holy Spirit,” reflecting a more serious tone. These words offer comfort and assurance that God
is ever present. The last section of the song, considered the doxology, is an expression of praise,
sung to the Holy Trinity – the Father, the Son and the Holy Spirit.

21

With intention and genuine presence, the music-thantologist is capable of offering
Asperges me to those at the end of life, providing a pathway through music to address the inner
longings of the soul. This chant has the power to communicate and resonate within those in need
of this spiritual element of forgiveness. There is no need to understand the Latin text in order to
receive the message, beautifully bestowed in this chant. “Music and sound weave a magic carpet
for the soul’s journey home.”
57

The manifestation of the divine presence within the sacred space of those dying and
through the offering of music, presents a sacramental view of anointing by sound while
addressing the spiritual needs of those at the end of life, despite religious affiliation or lack
thereof. The vigil space offers an interweaving of sacred aspects, music and the setting of beauty,
as well as the dying patient. All aspects play a role in addressing spiritual needs, such as
forgiveness. Within this sacramental space, the patient has the capacity to grasp at whatever the
soul is yearning for or lacking, filling the void, while promoting healing spiritually. What occurs
is mystical in nature; it offers a glimpse into the healing and harmony which leads to wholeness
in spirit. “Sacrament is the point of contact between the visible and the invisible, the tangible and
the intangible, or, to put it another way, how our human experiences function as doors to the
sacred.”
58
For music-thanatologists, this offers the possibility of unlocking doors while
facilitating a path for the sacred to become known. Through an open mind and presence of being,
the divine experience draws possibility. “…the dying person becomes a chalice and is anointed
with very specific music, sound, or tonal substance. The sole focus is to help the person move
toward completion and to unbind from anything that prevents, impedes, or clouds a tranquil
passage.”
59

22

Drawing on the death-bed practices of the monks of Cluny, music-thanatology offers a
modality to universally assist all humans with spiritual matters at the end of life, despite faith
tradition or lack of religious affiliation. This offers hope for all those in the process of dying to
be treated holistically, encompassing all needs, physically, emotionally and spiritually. This
manner of “caring for the body and curing the soul,” offers one the path to a Holy death.
In conclusion, the need for forgiveness is a timeless, essential need for all; no one
bypasses this inescapable human trait. The daily practice of nurturing forgiveness cleanses the
soul while supporting healthy relationships and allowing one to experience love free of
boundaries. By practicing the Four Things, as outlined by Ira Byock, “Please forgive me,” “I
forgive you,” “Thank you,” and “I love you,” these powerful words can heal relationships and
promote a fulfilling life. Lastly, in the sacramental setting of music-thanatology, Divine Mercy is
made present, aiding spiritual healing while ultimately leading to wholeness and a sacred death.

23

ENDNOTES

1
Therese Schroeder-Sheker, “Music for the Dying: A Personal Account of the Field of Music
Thanatology – History, Theories, and Clinical Narratives,” Advances, Journal of Mind-Body
Health 9, no.1 (1993): 36-47

2
Ira Byock, The Four Things That Matter Most, (New York: Simon and Schuster, 2004), 40.
3
Suzanne Cerddeu and Laura Moya, History of Death and Dying in Western Culture I and II;
Classroom Lecture Notes. 2014.
4
Encyclopedia of Death and Dying, http://www.deathreference.com/Ce-Da/Christian-Death-
Rites-History-of.html, Christian Death Rites, History of; Classroom Lecture Notes. 2014.
5
Ann L. Hallstein, “Spiritual Opportunities in the Liminal Rites of Hospitalization,” Journal of
Religion and Health 31, No 3, (Fall 1992): 247-248.
6
Therese Schroeder-Sheker, “Music for the Dying, 38.
7
Encyclopedia of Death and Dying, 2014.
8
Schroeder-Sheker, Music for the Dying, 37.
9
Frederick S. Paxton, A Medieval Latin Death Ritual, (Missoula: St. Dunstan’s Press,1993)
10
Ibid, 6.
11
Schroeder-Sheker, Music for the Dying, 36-37.
12
Geoffrey Kozial, Begging Pardon and Favor: Ritual and Political Order in Early Medieval
France, (New York: Cornell University Press, 1992), 183.
13
Paxton, Medieval Latin Death Ritual, 6.
14
Ibid, 6-8.
15
Philippe Aries, Western Attitudes Toward Death from the Middle Ages to the Present,
(Maryland: John Hopkins Press, 1974), 11.
16
Paxton, Medieval Latin Death Ritual, 31.
17
Daniel Callahan, The Troubled Dream in Search of a Peaceful Death, (Washington DC:
Georgetown University Press, 2000), 121.
18
Stephen Levine, Healing Into Life and Death, (New York: DoubleDay, 1987), 88.
19
Kathleen Dowling Singh, The Grace in Dying, (New York: Harper Collins, 1998) 124.
20
Providence St. Vincent’s Medical Center, Spiritual Care Dept., Spiritual Needs Grid,
Classroom Lecture Notes.
21
Richard Groves and Henriett Anne Klauser, The American Book of Living and Dying:
Lessons in Healing Spiritual Pain, (New York: Random House, 2005), 46.
22
Barbara Karnes, RN, The Eleventh Hour: A Caring Guideline for the Hours to Minutes Before
Death, (Vancouver, WA: www.bkbooks.com, 2008), 5.
23
Karnes, Eleventh Hour, 7.
24
Maggie Callanan and Patricia Kelley, Final Gifts: Understanding the Special Awareness,
Needs, and Communications of the Dying, (New York: Simon and Schuster,1992), 137.
25
Levine, Healing Into Life,88.
26
Groves and Klauser, Book of Living and Dying, 47.
27
Merriam-Webster Dictionary, http://www.merriam-webster.com
28
Groves and Klauser, Book of Living and Dying, 48.
29
Byock, 2004, 3.
30
Ibid, 56-57.

24

31
Groves and Klauser, Book of Living and Dying, 47.
32
Singh, Grace in Dying, 201.
33
Groves and Klauser, The American Book of Living, 20.
34
Catholic Supply of St. Louis. http://www.catholicsupply.com/existing/practof.html
35
Groves and Klauser, Book of Living and Dying, 39.
36
“Spirituality Key to Chinese Medicine Success,” Pastoral Psychology (Springer, New
York/Heidelberg, (Sept. 2012), http://www.springer.com/about+springer/media
/springer+select?SGWID=0-11001-6-1390754-0
37
Levine, Healing Into Life, 89.
38
Singh, Grace in Dying, 14.
39
Groves and Klauser, Book of Living and Dying, 253.
40
Richard McBrien, Catholicism, revised and updated edition (North Blackburn: Collins Dove,
1994), 9-10.
41
Katharine Le Mee, The Benedictine Gift to Music, (New York: Paulist Press, 2003), 207.
42
Douglas Harper, Online Etymology Dictionary, accessed November 20, 2014,
http://www.etymonline.com/
43
Roman Catholic Archdiocese of Westminster, accessed Dec 18, 2014, http://rcdow.org.uk
/att/files/faith/catechesis/baptism/sacraments.pdf
44
Harper, http://www.etymonline.com/
45
Brian Gleeson CP, “Symbols and Sacraments: Their Human Foundations,” Australian
eJournal of Theology 2, (February 2004), 1, accessed November 14, 2014, http://aejt.com.au
/__data/assets/pdf_file/0007/395674/AEJT_2.10_Gleeson_Symbols_and_Sacraments.pdf
46
John Shea, Stories of God, (Liguori Publications, Missouri: 2007) Chapter 1.
47
Gleeson, Symbols and Sacraments, under section “C.”
48
Albert L. Blackwell, The Sacred in Music, (Kentucky: Westminster John Knox Press, 1999)
29.
49
Ibid, 43.
50
Simone Weil, Waiting for God, (New York: G.P. Putnam’s and Sons,1951), 4-5.
51
Kevin Davis, After Existentialism, Impersonal Beauty, Dec. 31, 2013,
https://dogmatics.wordpress.com/category/simone-weil/
52
Ibid.
53
Le Mee, Benedictine Gift to Music,195.
54
Robert M. Fowell, “A New Look at Gregorian Chant,” Choral Journal 33, No. 5, (December
1992) 15-19 assessed 11/13/2014.
55
Robert R. Reilly, “Is Music Sacred,”Crisis Magazine (September 1999), 27-31.
56
Laura Moya, CM-Th, Classroom Lecture Notes, Contemplative Analysis Sheet – Asperges me,
(2014) 1-2.
57
Don Campbell, Mozart Effect: (New York: Harper Collins, 2001) 217.
58
Gleeson, 2004, Under “G” titled “Some Conclusions”
59
Schroeder-Sheker, Music for the Dying, 44.

25

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