Turns out, there are, and there’s a story there.
Jaweed Kaleem, the national religion reporter for The Huffington Post, highlights the small but growing trend of deathbed singers in his recent article on Threshold Choirs.
Death used to happen solely at home or in a hospital, with company limited to family, close friends and clergy. Solemn music would be reserved, perhaps, for the funeral. But as the options for the end of life have grown to include hospice, palliative care and other avenues that recognize not only physical but also emotional and spiritual well-being, Synakowski and like-minded volunteers are offering another service to the dying: soothing through a cappella song.
Each week, Synakowski and between five and 10 people gather around an imaginary bed to practice original songs written for the dying. The D.C. circle formed in January, and is one of the newest in a little-known, mainly U.S.-based network that began in Northern California 13 years ago and now includes dozens of groups across the country.
The full potential of web journalism is on display in Kaleem’s superb article. Just when you start to wonder what a deathbed song might sound like, the article drops in a sound clip of the choir performing two original songs. He even includes a slideshow of various choir groups and the people they sing for. From start to finish, it’s well-done, a solid piece of reporting.
But an article on death choirs shouldn’t be haunted by a holy ghost.
The choir members are recruited from churches, sing in churches and their practice session opens “as if it were a worship service.” So why don’t we hear more about the religious angle? The closest we come to finding out what sort of relationship the groups have toward religion is a line buried in a description of the singing events: