Various Writers • April 24, 2013

Soothing Relaxation Journeys

Soothing Relaxation Journeys is a specifically designed relaxation and imagery CD created to facilitate relaxation experiences, reduce anxiety and pain perception, improve mood and enhance comfort during treatments in oncology/cancer care and palliative care. It is also developed as a tool for those new to the GIM process and imaging to music. There is a substantial body of research in the areas of music and relaxation, and music and relaxation in medical settings, and that research has informed the development of the CD. There are numerous Relaxation and Imagery CDs on the market but few have been developed upon evidence-based principles.

Music and Relaxation

Studies that focused on music and relaxation highlight the biological and neurological effects that music has on the body and the brain. Fried (1990) discussed decreasing heart and respiratory rates initiated by changes in the autonomic nervous system activity when relaxing music is played, and changes that occurred in paradoxical arousal patterns that were contrary to those in cognitive function and anxiety, which is a positive result showing how music was used to create physical relaxation symptoms that are opposite of physical symptoms experiences during anxiety.

Significant decreases in state anxiety were found in college students when listening to preferred, relaxing music (Davis & Thaut, 1989). In a broader study Robb (2000) found music relaxation and progressive muscle relaxation were the most effective in eliciting changes in anxiety and perceived relaxation when listening to music and participating in various relaxation techniques, but that state and trait anxiety did not differ among treatments. A meta-analysis of 22 studies that focused on using music to decrease physiological arousal due to stress found that music and music-assisted relaxation significantly decreased arousal due to stress, and the amount of stress that was reduced was dependent on the client’s age, type of stress, musical preferences, and the type of music utilized (Pelletier 2004).

What is Guided Imagery and Music?

Guided Imagery and Music (GIM) is a technique used by specially trained therapists to help clients achieve a greater self-understanding and gain insight into their life problems. The Bonny Method of Guided Imagery and Music (BMGIM) was developed by Helen Bonny, who defines it as a “music centered exploration of consciousness which uses specifically sequenced music programs to stimulate and sustain a dynamic unfolding of inner experiences” (AMI, 2000). Music and imagery work together as therapeutic agents to expand a client’s awareness, resulting in major therapeutic benefits (Burns & Woolrich, 2004).

GIM is based on theories from two schools of psychology: humanistic and transpersonal. Humanistic psychology deals with a person’s growth as they move from fulfilling basic to complex human needs, and to ultimately achieve self-actualization (Maslow, 1968). Transpersonal psychology aims to expand awareness through imagery and dreams to in order to understand one’s greater connection to life (Vaughan, 1979). GIM aims for both self-improvement and self-transcendence.

The Music Programs

The music programs in the BMGIM provide structure and direction in the session. The therapist chooses a type of music that is most appropriate for the client’s situation. Specific programs have been developed for different purposes, including Caring, Peak Experiences, Imagery, Grieving, and Relationships. The programs are based on classical music and are mainly instrumental (Bonny, 1978). The music that tends to be the most effective for a particular client has enough structure and predictability to provide comfort, but also has enough variation and ambiguity to create interest and evoke reactions in the form of feelings and images (Summer, 1993).

So How Does It Work?

While the client is completely relaxed, the music helps to evoke different feelings, emotions, thoughts, memories and images (Bonny & Pahnke, 1972). These images can be dream-like, and may contain mythical and archetypal figures or symbols released from the unconscious (Vaughan, 1979). The therapist acts as a guide, heightening the client’s awareness and helping them navigate the experience.

How Does A Session Unfold?

A BMGIM session unfolds in four stages (Bonny, 1978). The first stage is an opening conversation between client and therapist to find a focus for the session. The second phase is a relaxation induction. The therapist guides the client through relaxation exercises to relax the body and move to a state of consciousness conducive to focused imagination. The therapist then describes a scene to open the client to the imaging process. The third phase is the music-imagery experience, which lasts about 30-40 minutes. The therapist plays a specifically designed program of classical music while the client describes images that come to mind. The therapist dialogues with the client, supporting and encouraging their spontaneous imaging and attempting to heighten awareness. The fourth stage is called the return and post-talk. The therapist helps the client return to an alert stage of consciousness and they discuss the experience, trying to make sense of the images and relate them to the client’s life. The therapist does not make interpretations for the client, but prompts them to come to their own realizations.

Who Benefits?

GIM has been used with a wide range of clients, although it is not recommended for people with serious mental disorders. It can be helpful for those seeking assistance with a variety of issues such as relationship problems, career changes, health issues, stress and anxiety, depression, grief and loss, addiction, different forms of abuse, clarity about life experiences, or spiritual and existential questions.

Final Thoughts

GIM is a unique therapeutic technique that uses the powers of music and imagery to gain deeper self-understanding. Music has the ability to bring about memories, feelings and images, which become even more vivid when the mind is completely relaxed and the imagination is focused. A client’s GIM experience is a personal journey through an exploration of their unconscious. With an expanded awareness, clients can discover inner issues, themes and feelings and work through life’s problems with a new level of insight.

Dr. Amy Clementes-Cortes (PhD, MTA, MT-BC, FAMI) is Practice Advisor/Senior Music Therapist at Baycrest Centre in Toronto, working with clients in the hospital and nursing home and supervising internship placements. At present she is a sessional instructor in the music therapy program at the University of Windsor and Wilfrid Laurier University as well as a Graduate and Clinical Supervisor. Amy is Clinical Commissioner for the World Federation of Music Therapy and sits on the Room 217 Board of Directors. Amy owns and operates Notes By Amy: Music therapy and performing arts services.

References

Association for Music and Imagery [AMI]. (2000). Welcome. Retrieved from ami-bonnymethod.org/the-bonny-method-2

Bonny, H. (1978). Facilitating GIM sessions. Salina, KS: Bonny Foundation

Bonny, H., & Pahnke, W. (1972). The use of music in psychedelic (LSD) psychotherapy. Journal of Music Therapy, 9, 62-87.

Burns, D. & Woolrich, J.W. (2008). The Bonny method of guided imagery and music. In Darrow, (ed.) Introduction to approaches in music therapy. U.S.: American Music Therapy Association Inc.

Davis, W., & Thaut, M.H. (1989). The influence of preferred relaxing music on measures of state anxiety, relaxation, and physiological responses. Journal of Music Therapy , 26 (4), 168-187.

Fried, R. (1990). Integrating music in breathing training and relaxation: I. Background, rationale, and relevant elements. Applied Psychophysiology and Biofeedback, 1 5 (2), 161-169.

Maslow, A. H. (1968). Toward a psychology of being. New York: Van Nostrand Reinhold.

Pelletier, C.L. (2004). The Effect of Music on Decreasing Arousal Due to Stress: A Meta-Analysis. Journal of Music Therapy, 41 (3), 192-214.

Robb, S. (2000). Music assisted progressive muscle relaxation, progressive muscle relaxation, music listening, and silence: a comparison of relaxation techniques. Journal of Music Therapy, 37 (1), 2-21.

Summer, L. (1993). Melding musical and psychological process: The therapeutic musical space. Journal of the Association for Music and Imagery, 4, 37-48.

Vaughan, F. (1979). Awakening intuition. New York: Doubleday.

But He Can’t Hear

By Shelley Neal • May 28, 2026
For most of my practice of coming alongside people in care or at the end of life, my harp has been the extension of me. It has traveled in ICUs, nursing homes, funerals, and celebrations of life. But for George, it couldn’t reach into the depths of his ears or into his soul for soothing, comforting, and connecting. George became profoundly deaf at the end of life. George, in his youth, was a very active and attractive young man with many skills athletically and also musically. Both he and his brother were incredible tenors in their church choirs from youth until their sixties. They sang duets and solos in church and with Gilbert and Sullivan Productions. It was actually there that George met the love of his life, Audrey, and they sang together. In my youth at church, George was often gowned in the choir garb, enjoying the music of the church and those “olde hymns”. Later, George’s father’s work as an assayer took him at the age of 16 to Jamaica, where he fell in love with the folk music of the isle. At home, he loved watching Don Messer’s Jubilee; country music was his soft spot. Often after dinner, he would start the turntable and listen to the crooning of the country and western storytellers. Aging, as they say, is not for the faint of heart. The loss of hearing was a huge adjustment for George, and the loss continued until even the hearing aids no longer worked. I would take Ruby, my little red harp, into the nursing home to play, and he would gently smile in his George way and shake his head that he heard nothing. This is where I became the student during the journey. George would bring out copies of his music, such as old hymns and lyrics of favourite love songs. These copies would be yellowed and delicately thin with age. He would begin to sing in his mellow tenor voice, and the memories flooded back. He shared the copies with fellow residences and staff. He would sing to them all. My job was to listen and take in his rich history of music that journaled the passages of his life. Our favourite haunt in the last nine years was Swiss Chalet, every Sunday evening. Often, our Jamaican staff would come out and sing to George. He really couldn’t catch the words the first couple of times, and then he would lip-read Diane’s words, “Come, Mr. Tally Man, Tally Me Banana,” and everyone at the table and surrounding tables would sing. George would randomly sing songs of the past during these dinners, remembering all the words as well as the moments these songs elicited. Then, the talk and connection went deep. His son, Peter, would take notes about all of these wonderful events of a man who lived a humble life well. Our portal into the life of George often came through old black-and-white photos, old hymn books, even old 78 records. He would smile, close his eyes, relax in his lazy boy, and the vocal music would begin. With the music came the stories of life traveling with his family, the depression, World War 2, meeting Audrey, raising his family, and connection with others through music. Even though he could no longer hear, he remembered and could still give the gift of song to others. The lesson is that music is so much more than sound; it is the connection, the stories, and the memories. We, as music care advocates, need not pass by someone who can’t hear as we may feel not useful, but to think beyond the physical sound into the memories of a song. The use of old pictures and hymn books helped us to enter into the past, as did the conversations cards of Music Care. Our job is one of connection and valuing the humanity of a soul. Music provides rich soil for connection. As our body ages and access to many things diminishes, we must still consider how to adapt our approach of using music to connect, through pictures, conversations, touch, and just being in space together sharing who we are. Shelley Neal is a special education teacher and program coordinator, therapeutic musician, and music care advocate in the Greater Toronto Area. Shelley uses music to deliver curriculum, support movement and language development and communication skills with non-verbal children. Her goal is to come alongside people and use music in whole person care.
A guitar , cowboy hat , cowboy boots and hay are on a wooden table.

When Music Care Becomes Personal (Yet again)

By Shelley Neal • April 2, 2025
I undertook the MUSIC CARE Certification program when I had journeyed through caring for my mother with Alzheimer’s. It was during my training, I learned how music works in terms of timbre, melody and rhythm and beat, music care domains and music care strategies. It helped me to support mom as the disease progressed. I continued to certify through Music Care and then I had the joy of teaching others the level 1 program Fundamentals of Music Care Theory and Context . I have loved coming alongside others in Long Term Care and using music to support giving voice of what is within one’s life, preventing isolation and loneliness, creating community. I enjoyed all it all. Then, I found myself once again in the Emergency Room with Tim, (my family member) as we were helping him home in his palliative journey. My “outside life” took a back seat and my inside hospital life began. Tim’s was failing and he was no longer able to open his mouth and swallow to obtain nutrient’s due to Parkinson’s . We tried various types of foods, textures and flavours, however, opening his mouth and swallowing remained inaccessible. Tim loved Glen Campbell and Rhinestone Cowboy . When he was a young man, he would repeated play this song until the LP was worn through. He was given a new Glen Campbell CD at Christmas and the song was welcomed back into our lives. There I was ,in my new environment on the tenth floor of the hospital, playing Rhinestone Cowboy. Tim sang along. He actually sang along! He moved his mouth, swallowed and sang along. We were able to get pureed food into his body. Later, the disease continued to ravage his body and Rhinestone Cowboy helped us connected with other such as the speech language pathologist, doctors, cleaning staff and nurses. We sang and danced together with the music and Tim smiled. He knew he was part of a community who loved him. As we knew the end was coming, I played music with a simple melody, 60 beats per minute and soft timbre on my harp to support Tim as he fell into sleep. Near the end, I used tonal music in simple phrases to support calmness matching his breath. Tim passed peacefully and gentle. Today, at his funeral our last song “Rhinestone Cowboy”. After hearing the importance of this song, all the people present joined in singing to honour the village of Tim that so lovingly cared for him. Music Care training has become a natural rhythm in my life to use with aging and sick family members, supporting young children’s learning and providing self-care when I was tired after intense caregiving.

Grow

By Shelley Neal • March 8, 2024
I initially trained with MUSIC CARE to work with Seniors in Long Term Care who were experiencing dementia and Alzheimer’s Disease. This is the path I travelled with my mom. My training with Music Care and Room 217 supported capacity building in selecting music that was played on my harp or chosen recorded music. The music centered on the care of the individual and their specific needs. My job was to determine the individual’s specific and select music to address these needs. The music selected helped to build community, support sleep, talk about life experiences, create a background landscape of sound, support connection to decrease isolation and loneliness, as well as coming alongside people dying. My training with Music Care helped me understand how to support people “where they were” physically, emotionally, and spiritually. Through using beat, tempo, melody, and timbre, I could cater the music and desired support required for individuals or small groups. My profession is teaching. I am a special education teacher and use music in my primary teaching as a method for learning, practicing language skills, transmitting information about science studies or math equations, as well as having fun and creating our own songs. My teacher toolkit married exceptionally well with the knowledge and skills provided by the Music Care Certification training. Recently, my work with students has involved individual programming for the medically fragile children and the palliative children. I use music (repeating the chorus several times) to engage and connect with the kiddos. We use music to "talk" about feelings (our communication is through eye gaze, eye blinks, and squeezing hands), and content material. I use music to enjoy our relationship of being together. At times, due to medication for seizures, my little ones can be very sleepy. I increase the tempo, engaging in tapping the beat on her hands and using silly action songs. The giggles and wiggles make it magical. I also use music to tell stories (my students have CVI, cortical vision impairment, so visual perception is difficult). This helps the child to engage in the story arch and adventures. Music is my conduit for reaching out and being with the students. Recently, I had the sacred journey of visiting one of my children in ICU at Sick Kids. I was invited to come to say "goodbye". A dear friend who was an ICU nurse in a different department told me (AKA, insisted) that I bring my harp with me. I wasn't sure if this would be appropriate for the family. However, with the permission of the mom, I bravely packed my harp up and took it to the Unit. It was a beautiful evening of talking with their mom and dad about how special their child was in my life. I played the kiddo's favorite songs and then ended with "The More We Get Together". The little one opened their eyes and stared at me. We hugged, and I left. They passed the next morning. I consider this time to be a sacred gift. Music Care Certification has given me the confidence and toolset to work alongside people and to journey together. It is a time a beautiful, difficult, or sacred time that I have been honoured to participate in.  Thank You

Using Music to Connect with Older Relatives

By Julia Cara • March 29, 2022
This article was written by Julia Cara, and is part of a series provided by upper year Health Sciences students at McMaster University.

Remembering the First Room 217

By Bev Foster • January 10, 2022
I will never forget the call that came on that cold, crisp January afternoon twenty years ago. I knew it was imminent. I was expecting it and I thought I was ready. But would I ever be ready to say the final farewell to my father?

Like all the babies rock and roll was born in post WWII America

By Deb Bartlett • September 11, 2020
Poodles skirts, saddle shoes, ducktails and fins on your cars. If these words don’t evoke memories and images from the ‘50s maybe this will:

Folk is music of the people, shares news of struggle and home communities

By Deb Bartlett • August 28, 2020
Ask people what folk music is, and you'll get a variety of answers. Is it about the music? The lyrics? The song's history? According to Wikipedia's entry on folk music , it's all of those things: music that's performed by custom over a long period of time; that has no known composers; and that has been transmitted orally. It can describe the traditions of the "uncultured classes" and definitely means it's music of the people. And because it's been shared orally, it is music that has a place, or is indicative of a community. In some circles, because folk music tells stories about events and history, it's known as world music. In a dissertation, Rachel Clare Donaldson simply stated "Folk music is what the people sing."

Secular hymn Hallelujah among world’s most popular and recorded songs

By Deb Bartlett • August 24, 2020
As explained in this blog post Not Afraid album, the intent behind the Not Afraid album was not to tell people in hospice palliative care that they needn't be afraid; it was to let them know there are people who love them and are sharing the journey.

Not Afraid CD highlights value of relationships at end-of-life journey

By Deb Bartlett • August 17, 2020
Room 217 ’s music was designed for use in palliative care. The music is produced at 60 beats per minute (resting heart rate) which has several benefits for the person receiving palliative care. It also aids others in the circle of care. This link will take you to a report that discusses the benefits of music in hospice palliative care .

The Beatles led the Invasion that changed North America

By Deb Bartlett • August 11, 2020
Do you remember where you were the first time you heard them? The Beatles? Had you heard them on the radio? Or was your first experience with The Beatles watching the Jack Paar show, or Ed Sullivan?
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