Theoretical/pedagogical background of the paper During the COVID-19 pandemic, assessment of music performance moved almost exclusively to digital and remote methods - mostly via assessment of videoed performances. Since then, nearly all higher education institutions have returned to assessment of live performance, but most commercial graded music exam boards have retained a digital option alongside live (ABRSM, 2023; LCM 2023; TCL 2023). Existing literature suggests that levels of attention and focus are lower when people engage with digital sources, rather than live, in both learning (Dewan et al., 2019; Rosset et al., 2021; Rothkrantz, 2017; Sharma et al., 2023) and assessment (Ho et al.,2019; Lara et al., 2020), but this has not been tested specifically in relation to those professionals assessing music performance.Aim/focus of the work/research reported This research aimed to investigate focus and attention in assessors of graded music exams when marking live and digital performances, as measured by electroencephalogram (EEG) and GSR (galvanic skin response) data.Method/approach/modes of inquiry Examiners from one of the UK’s largest music exam boards assessed musical performances under 3 conditions:a. Live performance in the roomb. Videoed performance under “normal” working conditionsc. Videoed performance, but with examiner speaking “to” the candidate at the junctures they would in a live examEEG and GSR data were analysed, comparing levels of alpha and theta activity between each condition.Results and/or summary of the main ideas Analysis is currently ongoing, but initial data analysis is promising.Conclusions and implications for music educationThe assessment of music performance has long been plagued by reports of inconsistency (DeLuca & Bolden, 2014; Thompson & Williamon, 2003; Wesolowski, Wind & Engelhard, 2015), with many variables remaining unaccounted for and unstandardised. The addition of an entirely different assessment medium throws in further potential for inconsistency, with little known about whether the assessors themselves can maintain equivalent focus and attention when assessing a video as opposed to a live performer. The results from this study, while small in scale, explore this for the first time and allow:A. Candidates and teachers to consider live and digital exam routes with better understandingB. Scope for music exam boards to consider enhanced wellbeing and working practices for their examinersC. Greater standardisation of formats and equipment for assessing digital performances from homeD. More effective training of new and existing examiners to support high quality assessment