Ellen Taaffe Zwilich.

A lot has happened in the world of contemporary classical music in the past two decades. The dominance of the atonal approach to music, while still alive and well in many new pieces, has been forced to share the stage it once dominated with a resurgent tonality that looks likely to stick around for some time to come.

Two composers raised in South Florida — Ellen Taaffe Zwilich, who grew up in Miami, and Richard Danielpour, who grew up in West Palm Beach — have major compositional careers, in part because their work has returned over the course of their writing lives to a tonal approach. This season, new pieces by both composers will be heard here, one of them in a North American debut and the other in a local premiere.

Danielpour wrote his Souvenirs for the 75th birthday of the great French pianist and conductor Philippe Entremont, who frequently appears on local concert stages during the season. Entremont will be leading the Vienna Chamber Orchestra in Souvenirs, a five-movement work evoking the lives of five cities: New York, Tokyo, New Orleans, Paris and Vienna.

Richard Danielpour.

The work received its world premiere in June, and will be heard in its North American premiere Nov. 16 and 17 at the Kravis Center in West Palm Beach, which commissioned the work. Incidentally, the Kravis sits next to the Dreyfoos School for the Arts, which years ago was Twin Lakes High School, where Danielpour spent his high school years.

Here’s the third movement of Souvenirs (New Orleans), recorded in Vienna.

Zwilich, who turned 70 this year and who has taught for some time at Florida State University, was commissioned by several groups including the Kravis to compose her Septet for Piano and Strings, which had its world premiere in April at the 92nd Street Y in New York with the forces for whom it was written: The Miami String Quartet and the Kalichstein-Laredo-Robinson Trio.

In reviewing the work, the New York Times noted that it would be logical to suppose that other composers would have written pieces for the same set of instruments, but there have been almost none (the closest I can think of off the top of my head is the Saint-Saens Septet for Piano, Trumpet and Strings).

I’ve heard several of Zwilich’s pieces live over the years, including one of her symphonies, but not nearly enough. That’s a shame, considering her status as the first woman to earn a doctorate in composition from Juilliard and the first female composer to win the Pulitzer Prize. Her idiom is darker and more angular than Danielpour’s, and here is a YouTube performance of one of her piano pieces, a work called Lament that makes good use of the overtones you can ring from a piano if you play with the pedals just right.

The Miami and Kalichstein groups will perform Zwilich’s Septet in a concert at the Kravis on Jan. 17.