This article reinterprets the tension between sound and music in Pierre Schaeffer's 1966 Treatise on Musical Objects. Schaeffer famously insisted that the Treatise did not address music or composition; scholars have therefore engaged with it primarily as a theoretical text on sound and listening. In this article, however, I argue that the denial and deferral of music throughout the Treatise should be considered a discrete and key part of its theoretical contributions. By the early 1960s, Schaeffer's aesthetic frustration with the practice of musique concrète had blossomed into something of an ethical imperative and paradox. He saw it necessary to suspend all musical activity in the present, so as to salvage music's future. This dynamic is key to understanding Schaeffer's controversial and influential calls for the deferral of cultural responses to sound in the Treatise, as illustrated by the practices of ‘deconditioning’ and ‘reconditioning’.

本文重新诠释了 Pierre Schaeffer 1966 年《乐器论》中声音与音乐之间的张力。谢弗坚持认为该论文并未涉及音乐或作曲，这一点是众所周知的。因此，学者们主要将其作为关于声音和听力的理论文本。然而，在本文中，我认为整篇论文中对音乐的否认和推迟应该被视为其理论贡献的一个离散而关键的部分。到了 20 世纪 60 年代初，谢弗对具象音乐实践的审美挫败已经发展成为某种伦理要求和悖论。他认为有必要暂停目前的所有音乐活动，以挽救音乐的未来。这种动态是理解谢弗在该论文中提出的有争议且有影响力的呼吁的关键，他呼吁推迟对声音的文化反应，如“去条件化”和“再条件化”的实践所说明的那样。