| Summary: | <p>Current discourse at the intersection between sound studies and disability studies has highlighted the phonocentric nature of conventional understandings of listening – especially in relation to engagement with classical music performance. The perpetuation of ableist notions of “normal” and “expert” listening risk overlooking multimodal and embodied listening practices of the kind advocated by aurally-diverse and neurodiverse concert audiences. In this article, we evaluate the extent to which Relaxed Performances (RPs) may offer opportunities for such diverse ways of listening, through surveying the existing provision of RPs in the United Kingdom and reviewing three examples of performances by the Graeæ Theatre Company, the English National Opera, and the BBC Proms. We conclude that further work needs to be undertaken for emergent RP practices to be codified and become widespread, but highlight the importance of this work in making classical music performance more accessible and beneficial for people who experience differences in sensory processing.</p>
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