華語語系關注漢語與各族裔、社群、弱勢和少數族裔語言間的折衝關係，並其有凸顯邊緣「發聲」（articulation）與「多音」（polyphonic）的意涵。原先華語語系與「聲音」相關的概念，著重於文本中跨語際間的語音，而本文則嘗試延伸文本的其他聲音面向。本文嘗試調動「聲音景觀」（soundscape）的概念，用以探析不同語音的主體，如何被鑲嵌在不同聲音景觀的建構中，並與不同的聲音媒介間，共構出立體繁複的聲音樣貌。本文以王禎和的《美人圖》、〈小林來臺北〉為例，說明其聲音景觀的建構，讓我們聽見了1970年代前後，語音、流行音樂、電話聲、美國跨國資本主義的哭笑聲，在台北的辦公室內部所交織出的獨特景觀；且其文本的發聲面向，還指向了漢語文學與語言的內部。而本文由此嘗試說明，以「聲音」而非以語音，作為分析、討論台灣文學與華語語系的框架，將能讓我們聽見台灣文學與華語語系更多的可能。

One research emphasis in Sinophone studies is the power relations between Mandarin and dialects or the minority languages. Sinophone studies concerning the sounds usually emphasize the concepts of voice such as polyphony and the articulation by minority, but these concepts are only in linguistic area. While we are analyzing Sinophone literature, people can speak by their languages and meaningful talks in texts, and this paper attempts to point out that the soundscapes and the construction of acoustic spaces in works can speak together. Focusing on the soundscapes of Taipei in Wang Chen-Ho's novels, this essay seeks to examine how Wang uses a variety of sounds, such as those of phones, different languages, popular songs and laughter in the work place, to create plenty of unique meanings. This paper will prove that ＂sounds as method＂ is an approach to hearing more hidden voices of Sinophone and Taiwan literature.