Fantastic and first-rate ethnography! My main complaint is that the author treats "Christian Korean Culture" as a sort of self-contained composite. Although he does mention in passing about certain ruptures, we learn very little how other registers of voice intersect with this particular classical voicing. How about K-pop? And what about sangak singers in their everyday interactions with family members? What voice registers would they use or shift in between? I'd hope to read a chapter or a separate paper on voicing and the family dynamics of these Christian sangak singers. Nonetheless, I love this ethnography because it shows the use of semiotic analyses. For this particular subject of voice and voicing, and this level of socio-aesthetic production, I wondered whether other analytic apparatus could do the same or a better job? Perhaps no? This is a case about how a specific method actually fits its particular materials and objects of study! And it makes you want to think about voicing cultural issues everywhere with this method!