Disability is a dimension of human difference, and all learners bring their own spectrum of unique gifts, abilities, and limitations to the learning process (Dobbs, 2012). Rooted in critical disability studies theory applied in the music education context, this study rejects the medical model of disability. Instead, disability is defined by the social realities encountered by people with a disability (Oliver & Barnes, 2012). The social model has limited application in music education and performance (bell & Rathberger, 2020; bell et al., 2022; Dobbs, 2012; Lubet, 2011) and choral music education in particular (Armes et al., 2022; Fuelberth & Todd, 2017).Based on the social model of disability, the Universal Design for Learning (UDL) is offered by some music education theorists as an alternative framework for inclusion (Armes & Grimsby, 2022; bell et al., 2020; Darrow, 2016; Darrow & Adamek, 2017; Fuelberth & Todd, 2017; Jellison, 2010; Lind, 2001). However UDL brings inherent tensions in its multiple modes of representation, expression, and engagement (CAST, 2024) when applied to choral rehearsal process and performance.In response to these tensions and to the absence of people with disabilities in choral music, I ask: How can disability be conceived as a dimension of human difference in choral music education and performance, given the inherent tensions underlying the application of UDL? And how can singers with disabilities be welcomed and challenged in choral ensembles?In this presentation, I wish to share a case study of a choir for teens and adults with disabilities which I founded, the Every Voice Matters Chorus in VIVA Singers Toronto. When centering the perspective and contribution of singers with disabilities, impactful research amplifies their voices, and portrays them as active agents with unique gifts to contribute (bell et al., 2020, 2022) by: removing barriers to participation; offering opportunity for musical creation; exploring alternate uses of the human voice; selecting and arranging repertoire which is well crafted and aesthetically meaningful to the singers.It is just and ethical to ensure that musicians with disabilities are recruited and welcomed as active stakeholders in choral ensembles; that they have agency over their supports and involvement in rehearsal process and performance; and that they are recognized for the unique gifts they contribute.