OBJECTIVES/GOALS: To introduce the new Team Science Community Toolkit, co-created by community and academic partners, and showcase its potential to empower Community Organizations (COs) in achieving equity in community-engaged research (CER). METHODS/STUDY POPULATION: In response to the challenges faced by COs in CER collaborations, qualitative interviews were conducted with CO staff from historically marginalized communities. These interviews informed the development of the Team Science Community Toolkit, a collaborative effort involving a Community Advisory Board (CAB) and Team Science experts from Northwestern University. The toolkit, designed using a community-based participatory research approach, incorporates the Science of Team Science and User-Centered Design principles. Integrated into the NIH-sponsored COALESCE website, it includes templates, checklists, and interactive tools, along with a real-world simulation, to support COs in all stages of the research process. RESULTS/ANTICIPATED RESULTS: Focus groups and usability testing involving external community experts validated the toolkit’s content and usability. Participants expressed enthusiasm and a sense of empowerment, indicating that the toolkit allows them to actively shape research processes and infuse their specific voices and needs into their partnerships. The toolkit is designed to support breaking down barriers like jargon and cultural adaptability to improve accessibility and open conversation. The impact of this Team Science focused toolkit is under evaluation. This presentation will showcase the toolkit, detail its collaborative development, and explore potential applications, ultimately offering a path to more equitable and valuable community-based research. DISCUSSION/SIGNIFICANCE: By providing COs with the resources and knowledge to participate as equal partners in research collaborations, it enhances self-advocacy, transparency, and equity. The toolkit has the potential to utilize Team Science to foster productive communication in community-academic research partnerships.

We recently reported on the radio-frequency attenuation length of cold polar ice at Summit Station, Greenland, based on bi-static radar measurements of radio-frequency bedrock echo strengths taken during the summer of 2021. Those data also allow studies of (a) the relative contributions of coherent (such as discrete internal conducting layers with sub-centimeter transverse scale) vs incoherent (e.g. bulk volumetric) scattering, (b) the magnitude of internal layer reflection coefficients, (c) limits on signal propagation velocity asymmetries (‘birefringence’) and (d) limits on signal dispersion in-ice over a bandwidth of ~100 MHz. We find that (1) attenuation lengths approach 1 km in our band, (2) after averaging 10 000 echo triggers, reflected signals observable over the thermal floor (to depths of ~1500 m) are consistent with being entirely coherent, (3) internal layer reflectivities are ≈–60$\to$–70 dB, (4) birefringent effects for vertically propagating signals are smaller by an order of magnitude relative to South Pole and (5) within our experimental limits, glacial ice is non-dispersive over the frequency band relevant for neutrino detection experiments.

This paper proposes a framework for comprehensive, collaborative, and community-based care (C4) for accessible mental health services in low-resource settings. Because mental health conditions have many causes, this framework includes social, public health, wellness and clinical services. It accommodates integration of stand-alone mental health programs with health and non-health community-based services. It addresses gaps in previous models including lack of community-based psychotherapeutic and social services, difficulty in addressing comorbidity of mental and physical conditions, and how workers interact with respect to referral and coordination of care. The framework is based on task-shifting of services to non-specialized workers. While the framework draws on the World Health Organization’s Mental Health Gap Action Program and other global mental health models, there are important differences. The C4 Framework delineates types of workers based on their skills. Separate workers focus on: basic psychoeducation and information sharing; community-level, evidence-based psychotherapeutic counseling; and primary medical care and more advanced, specialized mental health services for more severe or complex cases. This paper is intended for individuals, organizations and governments interested in implementing mental health services. The primary aim is to provide a framework for the provision of widely accessible mental health care and services.

Due to continuing pressures on the UK National Health Service’s mental health services, there has been increased interest in the development of brief psychological interventions (BPIs). These interventions are usually defined as including selected components of established psychological interventions, delivered over fewer sessions, and by staff with less specialised training (paraprofessionals). Cognitive behavioural therapy (CBT)-based BPIs for anxiety and depression have been found to be helpful for clients with mild to moderate mental health problems. This project evaluates the introduction of BPIs for anxiety and depression in a secondary care adult mental health service, with clients experiencing moderate to severe mental health difficulties. The service developed CBT-based manuals for anxiety (anxiety management) and depression (behavioural activation) BPIs. The BPIs were delivered by mental health workers without core therapeutic training, who were offered training and group supervision by psychologists in the team. Measures of anxiety (GAD-7), depression (PHQ-9), wellbeing (SWEMWBS) and functioning (WSAS) were completed at the start and end of treatment. The data reported from a 2-year period suggest that BPIs are associated with reductions in symptoms of anxiety and low mood, and improvements in wellbeing and functioning. Whilst this is a small-scale initial evaluation, the results are promising for the potential benefit of BPIs for clients in secondary care settings. Given that this new way of working has possible additional benefits such as improving access to psychological treatment and cost-effectiveness, further research in the area is warranted and encouraged.

Distress intolerance has been suggested to be a maintaining factor in several mental health conditions. Distress tolerance skills training has been found to be beneficial in emotionally unstable personality disorder (EUPD) and post-traumatic stress disorder (PTSD). Short-term targeted interventions are increasingly being implemented in response to demand. This study investigates the efficacy of a distress tolerance brief psychological intervention (DT BPI) delivered by non-psychologists within an adult secondary care mental health service. Questionnaire data (pre and post) are reported from 43 participants who completed the intervention. Results suggest that the intervention was associated with significant improvements in distress tolerance, mood, anxiety and wellbeing. This indicates that a DT BPI can be effective when delivered by non-psychologists to real-world adult secondary care clients. The findings offer promising evidence that DT BPI could be a beneficial, cost-effective intervention and warrants further large-scale investigation.

The purpose of the present study was to determine the effects of short-term supplementation with the free acid form of β-hydroxy-β-methylbutyrate (HMB-FA) on indices of muscle damage, protein breakdown, recovery and hormone status following a high-volume resistance training session in trained athletes. A total of twenty resistance-trained males were recruited to participate in a high-volume resistance training session centred on full squats, bench presses and dead lifts. Subjects were randomly assigned to receive either 3 g/d of HMB-FA or a placebo. Immediately before the exercise session and 48 h post-exercise, serum creatine kinase (CK), urinary 3-methylhistadine (3-MH), testosterone, cortisol and perceived recovery status (PRS) scale measurements were taken. The results showed that CK increased to a greater extent in the placebo (329 %) than in the HMB-FA group (104 %) (P= 0·004, d= 1·6). There was also a significant change for PRS, which decreased to a greater extent in the placebo (9·1 (sem 0·4) to 4·6 (sem 0·5)) than in the HMB-FA group (9·1 (sem 0·3) to 6·3 (sem 0·3)) (P= 0·005, d= − 0·48). Muscle protein breakdown, measured by 3-MH analysis, numerically decreased with HMB-FA supplementation and approached significance (P= 0·08, d= 0·12). There were no acute changes in plasma total or free testosterone, cortisol or C-reactive protein. In conclusion, these results suggest that an HMB-FA supplement given to trained athletes before exercise can blunt increases in muscle damage and prevent declines in perceived readiness to train following a high-volume, muscle-damaging resistance-training session.

Dance is virtually always music-and-dance, unavoidably interdisciplinary and ready for “marriage,” or so the familiar metaphor tells us (Du Manoir 1664/1985; Humphrey 1959, 164). Apart from a few notable exceptions from within modern dance—like the silent dances of the 1920s and 1930s or the flamboyant rejections of musical tyranny by Merce Cunningham and Yvonne Rainer from midcentury—the centrality of music within dance and the “musicality” of the dancer have long been considered unquestioned facts of life.

Yet traditionally, there have been fundamental differences in practice and conceptual frameworks between these two art forms or (within the academy) “disciplines.” Music has a history of being thought “alone” and uncontaminated by matter outside itself. Often, it needs no other partner. Then, in dance, the performer is central—as Yeats famously wrote: “How can we know the dancer from the dance?”—while in music, the score object, written by a composer, has been central and the performer, until quite recendy, relatively marginalized.

Agon has often been cited as a key composer/choreographer collaboration, and its choreographer, George Balanchine, himself considered it “the most perfect work” to come out of his creative relationship with composer Igor Stravinsky (I). It is surprising, therefore, that so little has been written regarding the details of the interaction of music and dance. Most writers have concentrated on the dance or on the musical aspects of Agon, or have made only broad generalizations about its musical/choreographic structure.

In this article, I begin the analysis of structural relationships between music and dance with the main focus on rhythm. This is perhaps an obvious starting point for analysis, but it seems an especially important one, given the rhythmic complexity of the musical score and Balanchine's acknowledgement of the rhythmic lead that music provided forhim (2). It was Stravinsky's rhythmic style that Balanchine so often referred to when admiring the composer's work (3). In Agon, Balanchine seems to have been far less concerned with responding to pitch structure than to the rhythmic content of the music.

The accessibility of notation scores and film provides a unique opportunity for examination of the relationship between existing music and dance in the work of Doris Humphrey. Nine of her pieces to existing musical scores have been notated in Labanotation and at least fourteen have been filmed in their entirety or in part. Nine are recorded in notation and on film. The Humphrey films and scores span her choreographic career and illustrate a wide range of musical scores from the eighteenth to the twentieth century. In this paper, I will suggest various ways in which the Labanotation scores have been useful for analysis and have contributed to my understanding of Humphrey's work.

So far I have studied three pieces, each of which has been filmed and notated, Passacaglia in C minor (1938), Partita in G major (1942) the four movements that remain, and the first movement of Brandenburg Concerto No. 4 in G major (1959), created with Ruth Currier. All three employ scores and titles by Bach and all make oblique reference to the music visualization tradition from which Humphrey emerged.

Choreographers have always found difficulty in fitting stories to existing musical scores and there have been few occasions when such music has fitted the dramatic structure entirely satisfactorily at every instance. There are two solutions to the problem: either to commission new music or to manipulate an existing score so that it suits the choreographer's purpose, by editing, changing the order of events or the orchestration, even by finding a composer to write a few bars here and there ‘in the style of’ the main body of the music. Such manipulation is by no means the property of story dances; Balanchine altered the order of events in Serenade for instance.

Frederick Ashton has more often than not chosen the ‘welding’ approach, as he calls it, and this is the method he and John Lanchbery used in A Month in the Country. The two men spent a week in September, 1975, working out action to music before any of the dance was choreographed. Before A Month in the Country, Ashton had already collaborated with John Lanchbery in a similar fashion, on La Fille mal gardée (1960), The Two Pigeons (1961) and The Dream (1964), and, much earlier in his career, he had worked with Constant Lambert who introduced the approach to him and was on hand to arrange and orchestrate pieces, even to suggest which music Ashton should use.