A speed test for the steel-fingered pianist, the work takes its title from a phrase in a newspaper review in which the composer was castigated for employing elements of techno music in his work. In what could be considered the Australian equivalent of The Soviet Composers Reply to JustCriticism, Moments of Plastic Jubilation goes overboard in its exploit ation of the high-speed repetitive rhythms and bounce-along tunes of themusic so reviled by the reviewer. Moments of Plastic Jubilation takes i ts title from a newspaper review of Hindsons orchestral work SPEED, in which the authors palpable outrage at the composers adoption of some of the stylistic elements of techno music (and thus his rejection of theold idea of music as a nobly expressive, humane activity) provoked the coinage of colourful phrases such as this. Written partly as a response to the review, the work is also intended as something of a representati ve summary of many of the composers beliefs regarding music and its place in contemporary society. Whilst the work demonstrates musical correlations with styles of certain forms of popular music, it is structured using 1960s-style modular techniques. The music is thus very sectional, relying more heavily on contrast than motivic development to drive it forwards.