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Although Lyotard never dealt explicitly with the musical recording, a thought of it is enshrined in Des dispositifs pulsionnels and L’inhumain. Unlike Benjamin or Adorno, Lyotard doesn’t accuse recording of making music a common merchandise in the capitalist system. The occidental classical music itself is intrinsically mechanical and capitalist. This fundamental process, working in particular in the schoenbergian « new music », is only reenforced by recording. But the serial law is not the ultimate comprehension of music. The most classical sonata is always postmodern, as an inaudible sonorous event is present through audible, as through incessing variations a fundamental theme always absent is nevertheless present. The music we heard is only the recording of this event. Far from considering musical recording as an accident of music, Lyotard thinks music as essentially a kind of recording.