Choral singing is widely recognized as one of the most socially connecting forms of collective music-making. Numerous studies have demonstrated its positive effects on well-being, cognitive functioning, and social integration (Robens et al., 2024; Sakärmo, 2018; Dawudi et al., 2023). Nevertheless, participation in choral singing as a leisure and educational activity remains unequally accessible across social groups. Factors such as social background, educational level, and cultural orientation continue to influence opportunities for engagement (MIZ, 2024). These disparities reveal a tension between the democratic ideals of music education and the persistent mechanisms of exclusion within the choral landscape.This paper examines the potential of inclusive choral practice that combines artistic, pedagogical, and social objectives. Two current research projects are presented and analyzed to illstrate different approaches:(1) The project “Länger fit durch Musik” (Staying Fit through Music) (BMCO, National Dementia Strategy; research lead: Kai Koch) empirically investigates the impact of choral programs for people living with dementia and their caregivers. Preliminary results from questionnaires, focus groups with choir directors, and rehearsal observations indicate that group singing not only supports emotional stability and cognitive activation but, through specific frameworks, methods, and conceptual designs, also enables social participation within inclusive settings.(2) The project “Grenzklang” (BorderSound) (lead: Heike Henning, University of Innsbruck) is a developmental initiative that creates choral spaces for encounters among people from diverse cultural backgrounds. It focuses on processes of cultural negotiation, multilingualism, and musical diversity as foundations for social cohesion; findings from the accompanying evaluation will be presented.In the concluding synthesis, the core potentials of both projects are analyzed within the context of international discourses on Community Music and Inclusive Music Education. The paper aims to identify perspectives for choral work that understands inclusion not merely as a pedagogical category but as an aesthetic-social practice. It highlights the structural, pedagogical, and artistic conditions under which choral activities can build bridges across generations, cultures, and social groups. Ultimately, the paper contributes to ongoing discussions in music and choral pedagogy on how ensemble practices can foster sustainable forms of social participation and serve as exemplary spaces for lived inclusion.