AMS conference presentation (2021). Cornerstone Festival performed its organizers’ ethics into being, witnessed in its do-it-yourself scrappiness, its (at times) overwhelming sonic chaos, its sanctioned attendee-operated “generator stages,” and its willingness to engage difficult theological questions. From one perspective, this reflects a tautological relationship between orthodoxy and orthopraxy grounded in theology; another perspective reveals the co-constitutiveness of ethics and aesthetics grounded in practice. To recast Jeffers Engelhardt’s “right singing,” at Cornerstone, if the performing was right, then the ethics expressed in that performing were right, and if the ethics were right, then the musical practices grounded in those ethics were right. In this paper, I draw on theories of music and ethics rooted in Christian musicking to generate a theoretical framework that situates these practices not within a shared faith but rather within a shared ethical framework irrespective of religious belief.