My understanding is that it is an aesthetic choice, considered unconventional in contemporary film making (although thankfully less so in recent years, possibly due to the success of certain contemporary auteurs.)
In most films, the score is used for exactly the opposite of what you suggest, to avoid any possible misinterpretation of the scene. (i.e. there is a musical shorthand for "you should be feeling wonder" or "you should be afraid" or "this is a romantic moment.")
Using the score in this manner is often a cover for poor writing and directing, in that the dramatic tension in a scene, or any other feeling, can be evoked even though it has not been "earned".
(It's been a while since I saw the Shosanna/Landa scene in the restaurant, but as I recall, all of the tension was derived from the plot and dialogue, not from score. QT is known for using music in a manner oppositional to how score is conventionally used in Hollywood films, which is to say "as a crutch", and even presents music counter to the feeling of the scene to create even more tension, as in the case of Officer Marvin Nash's ear.)
The story of the score of the Exorcist is an alternate example, where the artistry of the musical composition, in conjunction with the images, was deemed too much for the audience to take.
Goddard uses score for a different reason a famous scene involving a jukebox in Band of Outsiders. In this scene, he uses lack of score to challenge our concept of reality in the context of film, which is a theme that runs through his work in general. ( Goddard, out of all of the New Wave auteurs, was probably most influential in QT's work. He even named his early production company, A Band Apart after Goddard's famous film.)
In general, my personal take on directors who do not overuse score, is that it is a mark of the quality of their craftsmanship, and even a protest against the overuse of score in low-quality, mass-market films that do well in the box office.
A note on David Lynch: I felt I should add a coda on Lynch's brilliant use of score, in particular the use of unsettling music juxtaposed with images or settings that would otherwise be considered banal. Lynch uses it to indicate the sinister elements that may lie just beneath the surface of everyday reality.