A new paradigm of music teaching and learning has emerged in secondary schools in the United States. Music educators are taking advantage of innovations in digital technologies by organizing courses in which students learn about and demonstrate music concepts through music technology. Despite the growth of such classes, technology-based music class (TBMC) curricula has not been thoroughly investigated at the national level. Therefore, the purpose of this dissertation was to examine the current state of this emerging paradigm, and to share these insights with a variety of stakeholders including music educators, school administrators, education policymakers, and others who will influence the future of technology-based music classes. This study was organized around three research questions, each of which was formulated to address an area of concern reflected in extant music technology literature. 1. What are the features of technology-based music class (TBMC) curricula? 2. What are music educators? orientations toward TBMC curricula? 3. How do TBMC curricula align with professional music education standards? Data were collected using a researcher designed instrument based on two previously published questionnaires that examine music technology curricula and teacher attitudes toward the curriculum orientations originally proposed by Eisner and Vallance (1974). The Music Technology Curriculum Inventory (MTCI) was distributed nationally through the National Association for Music Education (NAfME) research service and through social media groups interested in TBMC. Data analysis and reporting of the N = 69 eligible responses consisted of descriptive statistics and basic qualitative content analysis of open-ended survey questions. Two exploratory groups were formed to compare agreement with academic rationalism and social reconstruction to select music technology curriculum items. Participants in this study reported high levels of non-traditional music student enrollment and a curricular approach that emphasized composition without the use of standard notation. Music educators seem to be utilizing recently developed web-based music software, and the cost of starting a music technology class appears to be decreasing. The results of this study contribute much needed national level baseline data to a discourse mainly consisting of case studies, advocacy articles, and self-reported descriptions of technology classes and programs. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://www.proquest.com.bibliotheek.ehb.be/en-US/products/dissertations/individuals.shtml.]