and again, prominent Russian composers have expressed their distaste for dodecaphony. In the opinion of Shostakovick, "the dogma of dodecaphony kills the composer's imagination and the living soul of music." Kabalevsky says, "Dodecaphony is an elaborate system of crutches for the composer." Khachaturian sees "danger when a young composer borrows the schemes of serial music." Khrennikov refers to "twelve-tone gimmicks." All this sounds ominous, as if there were an international conspiracy to contaminate the purity of Russian music. The verbal invectives against dodecaphony are matched by total silence as far as the music itself is concerned. For more than thirty years, Arnold Schoenberg's compositions have been excluded from the Soviet repertoire, and the post-Stalin "Thaw" did not bring any change in this respect. In Soviet writings on music, the name of Schoenberg is barely mentioned. A five-volume set of a Soviet bibliography, Literature on Music, spanning the years 1917 to 1959, contains more than 10,000 entries; yet the name of Schoenberg appears only six times, of which three are merely in passing. This conspiracy of silence prevents a whole generation of Soviet musicians and listeners from knowing the real issues as far as twelve-tone music is concerned.