A research profile sets out what drives your curiosity, the questions you want to explore, and the approaches you use. It helps you communicate your interests clearly to funders, collaborators, and audiences, and acts as a foundation for building a coherent research or creative practice.
Guidance: Writing an Academic Research Profile
Your profile should balance clarity, credibility, and accessibility. Think about who will read it (academics, funders, students, or industry partners).
Key sections to include:
Opening statement / research identity
One or two sentences on your main research area, disciplinary home, and distinctive perspective.
Example: “I am a cultural sociologist specialising in music industries, with a focus on gender, careers, and policy.”
Research interests
Bullet points or a short paragraph highlighting themes, methods, and contexts.
Current projects
Active grants, collaborations, or PhD/postdoc topics.
- Selected publications or outputs
- A handful of key works (not a full CV)
- Impact and engagement
Industry partnerships, policy influence, public engagement, creative practice.
Teaching and supervision (optional)
Only if relevant to the context.
Tips:
Write in the third person for websites and directories.
Write in the first person for social/professional networks (LinkedIn, ResearchGate).
Keep it concise (150–300 words).
Profile Examples.....
DJ – Gender and Representation in Club Culture
I am a DJ and club curator researching how gender shapes visibility, safety, and creative freedom in nightlife spaces. My work combines interviews with women and gender-diverse DJs, playlist analysis, and field observations of club environments. I’m interested in how line-ups are constructed, how audiences respond to different identities, and how inclusive programming can shift power dynamics on the dancefloor.
Community Musician – Youth Empowerment Through Group Performance
As a community musician working with young people, I research how group music-making fosters confidence, belonging, and leadership skills. I use participatory action research, combining focus groups, creative workshops, and observational notes. My work examines how collaborative performance—choirs, bands, devised pieces—helps young people develop identity, voice, and mutual support, particularly in areas with limited access to arts provision.
Songwriter – Trauma-Informed Creative Processes
My research explores how songwriting can support healing and emotional expression for people who have experienced trauma. I use reflective journalling, lyric analysis, and semi-structured interviews with artists who adopt trauma-informed methods. I’m especially curious about how studio environments, collaboration, and performance contexts influence wellbeing and creative agency, and how musicians can build safer, more supportive writing spaces.
Producer – Practice-Based Feminist Studio Research
I am a music producer investigating how feminist principles can reshape studio practice. My research is practice-based: I document my production process, analyse decision-making, and experiment with collaborative, non-hierarchical workflows. I also interview women and gender-diverse producers about barriers and creative strategies. I’m interested in how technology, labour, and space intersect to influence who feels welcome and represented in the studio environment.
Where should you be?
Academic Platforms
These are crucial for anyone publishing, studying, or engaging with scholarly communities.
• ORCID
The universal researcher ID used by publishers, universities, and funders.
• Google Scholar Profile
Tracks citations, publications, and makes your research discoverable globally.
• ResearchGate
Useful for sharing papers, connecting with researchers, and increasing visibility.
• Academia.edu
Similar to ResearchGate; good for discoverability but less essential.
• Institutional research page
For anyone affiliated with a university, conservatoire, or research centre.
Professional Platforms
Ideal for practice-based researchers, artist–scholars, or those working across industry and academia.
• LinkedIn
Key for funders, employers, collaborators, and creative industries.
Include research interests, methods, and outputs (papers, talks, workshops).
• Personal website or portfolio
A central hub linking to your projects, publications, music, and research themes.
(Useful: WordPress, Wix, Squarespace, Notion.)
• The F-List for Music profile
For women and gender-diverse researchers whose work intersects with music practice.
• SoundCloud / Bandcamp / YouTube (for practice-based researchers)
Showcase creative outputs that form part of your research portfolio.
Funding & Policy Platforms
Important for visibility to grant-makers, partners, and cultural organisations.
• UKRI Gateway to Research (if relevant to your work)
Shows funded projects and makes research trackable.
• Local research networks or cultural partnerships
E.g., Music Education Hubs, local arts councils, cultural sector networks.
• Conference and festival programmes
Having your profile appear in academic or industry conference listings builds presence.
Public Knowledge Platforms
For researchers who want wider impact or community engagement.
• Wikipedia (if notable and eligible)
Especially for authors, composers, producers, and researchers with public impact.
• Medium / Substack
Platforms for blogging about research, methods, or music-industry analyses.
• Creative research networks (e.g., Practice Research Advisory Group UK, PARC, IASPM)
Membership often brings directory entries and networking opportunities.
