Monitoring sportive movements is essential for training processes to detect variations as well as progression, stagnations or even regressions. Visualization plays the dominant role in the technique analysis, even though the eyes ’ ability to perceive information of time-related events are limited and less efficient in comparison to the ears. Sound represents the information more differentiated and can support motion sequences. Acoustic displays offer a promising alternative to visual displays. Therefore an appropriate sound is needed that represents the specific movement patterns of a cyclic motion. In this paper we present our current considerations towards basic requirements for a sound design that fulfils the specific purposes of movement optimisation and its acceptance in elite sport. 1
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