Confusion will be my epitaph
I entered academia as an established professional musician, and I continue to work as a performer, but my research and teaching are equally centred around traditional academic scholarship, as well as practice outputs. This is unusual; most music practitioners on research contracts primarily pursue practice-based projects (compositions, performances, recordings, multimedia works), outputs from which are submitted to the REF with the near-mandatory 300-word statement setting out why they should be considered research.
And people try and justify the REF. Utterly stupid:SRFM.
(Title: h/t King Crimson)