Clance and Imes (1978) first described impostor phenomenon (IP) in their study of high-achieving women in academic and professional roles as the persistent belief that one’s accomplishments are undeserved and the fear of being exposed as a fraud. Since then, researchers across disciplines and professions have shown that impostor feelings are both common and consequential. Bravata et al. (2020) demonstrated that IP is widespread, harmful to wellbeing and careers, and still poorly addressed in research and practice. In music education, scholars have documented impostor feelings among undergraduate music majors (Napoles et al., 2024), student teachers (Sorenson, 2022), graduate students (Sims & Cassidy, 2020), and early-career faculty (Sims & Cassidy, 2019). Collectively, this work shows that impostor phenomenon emerges early in training and persists throughout professional life, yet little is known about how these experiences shift over the arc of a career.This study, Evolving Voices: A Narrative Study of Impostor Phenomenon Across the Careers of Music Educators, draws on a narrative inquiry framework, which positions lived experience and personal stories as the primary way of understanding how individuals make meaning across time and context (Clandinin, 2007). It seeks to explore: (1) how music educators describe the emergence and evolution of impostor phenomenon throughout their professional careers, (2) which personal and professional experiences influence changes in the intensity or nature of impostor phenomenon across different career stages, and (3) what strategies music educators use to manage, overcome, or reframe impostor phenomenon over time.I am currently collecting stories from music educators across three career stages: early-career (0-7 years), mid-career (8-20 years), and late-career (20+ years). Data collection combines an open survey to capture breadth and context with in-depth interviews to gather detailed personal accounts. Narrative and thematic analysis will trace common experiences, turning points, and coping strategies, with particular attention to transitional moments such as entering the profession, pursuing graduate study, assuming leadership roles, or approaching retirement.Preliminary patterns from early participants suggest three possibilities. First, impostor phenomenon often surfaces during transitional phases of career development—when educators step into new classrooms, pursue graduate study, or accept leadership responsibilities. Second, while impostor feelings may diminish for some, they rarely disappear; instead, they persist in new forms, reshaping around changing expectations and roles (e.g., early-career concerns about classroom management versus later concerns about evolving field expectations or recognition). Third, mentorship and community support appear to mediate these experiences. Early-career educators describe mentor validation as critical for confidence building; mid-career professionals highlight peer networks and leadership opportunities as resilience-building; and late-career educators often rely on reflective reframing to contextualize impostor experiences as part of ongoing growth rather than failure.By centering the evolving voices of music educators, this project frames impostor phenomenon not as a private failing to outgrow but as a shifting, career-spanning reality shaped by roles, relationships, and structures. Through narrative inquiry, it seeks to catalyze dialogue and practical action that support wellbeing, professional identity development, and program sustainability across the careers of music educators.