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Though he studied with Vaughan Williams and Stanford at the Royal College, Jacob preferred the more austere Baroque and Classical models to the Romanticism of his peers, and stuck to this aesthetic even in the face of the trends toward atonality and serialism.
In Nazi Germany, atonal music was attacked as "Bolshevik" and labeled as degenerate (Entartete Musik) along with other music produced by enemies of the Nazi regime.
Cyclic tonal progressions in the works of Romantic composers such as Gustav Mahler and Richard Wagner form a link with the cyclic pitch successions in the atonal music of Modernists such as Béla Bartók, Alexander Scriabin, Edgard Varèse, and the Second Viennese School (Arnold Schoenberg, Alban Berg, and Anton Webern).
Arnold Schoenberg and his pupil Anton Webern proposed a theory on the emancipation of the dissonance to help analyse the general trend and, in particular, their own atonal music.