Abstract
The introduction of music thanatology practices in hospice care has brought a number
of concerns to the hospice music therapy community, particularly in those settings that
employ both a music therapist and a music thanatologist. There is no literature that describes
the relationships between the philosophies, training and clinical practices of hospice music
therapy and music thanatwoiogy. The lack of research on the field of music thanatology has
led to strong opinions, perhaps not based upon facts, about the practice of music thanatology
and the potential impact on the practice of music therapy in the care of the dying. Hospice
care workers, families and physicians appear to have difficulty distinguishing between the
modalities of music therapy and music thanatology. This lack of distinction impacts the
accuracy of referrals and effective symptom management for terminally ill patients and
potentially contributes to the relationships between the two fields.
The purpose of this study was to investigate the training, philosophy and clinical
practices of music therapy and music thanatology in hospice and provide useful information
to make comparisons between the two fields. This study implemented a literature review and
survey of music therapists and music thanatologists working with the terminally ill. Data
was collected on the opinions and experiences of one hundred and twenty-six music
therapists and thirteen music thanatologists related to their philosophies of practice,
educational experiences, competencies, and clinical interventions. Current and future
relationships between music therapists and music thanatologists and their respective
professional organizations were also addressed in this study. Findings demonstrate
commonalities and distinctions between the two fields and indicate areas for future
collaboration including research and co-education. Results also suggest implications tor
hospice care such as co-treatment and collaborative referral relationshizs.
