本文探討展示手法，特別是聲音展示技術，如何影響觀眾的互動方式與觀展體驗，並進一步分析不同展示手法所帶來的社會性與再現性效果。在國立臺灣歷史博物館「當我們望春風：臺灣流行音樂90年特展」中，展場大規模的採用指向性喇叭，讓觀眾在不需耳機的情況下，依據自身移動路徑，自然感受不同版本的音樂流轉。這種開放式音場設計，使觀眾能隨著展區的變化，體驗臺灣流行音樂在不同時代文化影響下的微妙變遷，並在共享的空間中，形成集體的互動氛圍。展示技術的選擇直接影響觀眾的觀看與聆聽方式，也決定了展覽的互動形態，「望春風展」透過聲音的空間配置，不僅提供個體化的觀展經驗，例如觀眾可以自由探索各自感興趣的音樂片段，也營造了集體互動的可能性，如當不同觀眾在相鄰區域聆聽相異版本的〈望春風〉時，彼此之間可能產生交流與共鳴。這種動態的聲音環境，使展覽不只是靜態的展示，而是一種透過技術設計強化沉浸感的體驗過程。本文亦比較「望春風展」與臺北流行音樂中心「唱我們的歌流行音樂故事展」的展示技術差異，分析指向性喇叭與個人導覽耳機在音場設計、觀眾互動模式與展覽氛圍上的不同影響。臺北流行音樂中心的展覽運用Beacon展場微型定位技術，結合個人導覽耳機，使每位觀眾在不同展區能獨立獲取專屬的音樂與導覽內容，強調個人化的展覽體驗，減少了觀眾間的互動。而「望春風展」則透過開放式聲音環境，讓不同版本的音樂在展場中流動，形塑更具社會性的觀展氛圍。透過探討聲音技術、空間配置與敘事方式的整合，本文試圖提供音樂主題展覽在策展上的關鍵參考，並反思如何透過展示技術強化觀眾的沉浸式體驗與內容再現效果。未來的音樂展覽可進一步思考如何在個體化體驗與社會性互動之間取得平衡，以提升展覽的深度與影響力。

In this paper, how exhibition techniques, particularly sound presentation technologies, influence audience interaction and exhibition experiences is explored, in addition to the social and representational impacts of various presentation methods. In the National Museum of Taiwan History's special exhibition Looking Forward to Spring: Nine Decades of Popular Music in Taiwan (hereinafter referred to as the Looking Forward to Spring exhibition), there was large-scale use of directional speakers and visitors naturally experienced different versions of music as they moved through the space without headphones. This open soundscape design facilitated seamless experiences of the evolution of Taiwanese popular music, including different cultural influences, while fostering a collectively interactive atmosphere within a shared space. The choice of exhibition technology directly affects how audiences view and listen, shaping the interactive nature of the exhibition. The Looking Forward to Spring exhibition utilized spatial sound arrangements to offer both individualized and collective experiences. Visitors could freely explore musical fragments of interest while engaging in shared interactions. For instance, visitors in adjacent areas could listen to different versions of the song "Wàng Chūnfēng"(望春風), also known as "Longing for the Spring Breeze," creating the potential for mutual and shared resonance. That exhibition was transformed from a static display into an immersive experience through technological design. In contrast, the MUSIC, ISLAND, STORIES: Pop Music in Taiwan exhibition at the Taipei Music Center utilized beacon-based micro-positioning technology with personal audio guide headphones. Each visitor received customized music selections and narration tailored to different exhibition zones. This approach emphasized individualized experiences but interactions among visitors were limited. By integrating discussions on sound technology, spatial design, and narrative approaches, the aim of this paper is to provide key curatorial insights for music-themed exhibitions. Reflections on how exhibition technologies can boost audience immersion and the representation of content are also presented. For future music exhibitions, emphasis should be on the balancing of individualized experiences and social interactions to enhance engagement and maximize impact.