Apart from those already mentioned, I remember - even as a boy - how impressed I was with David Rose's music. He was mainly given, let's say, not the most sophisticated scripts to score (Bonanza, Little House on the Prairie), basically wholesome, moralizing scripts, with some slapstick/comedic elements, and almost cartoon-depth characters and atmosphere. However, there are many moments where he chose to show how many layers of expression he was capable of, really lifting the action and providing extra dimensions to those characters and scripts, including some jaw-dropping musical moments. Same with Bruce Broughton and Dallas. Same with Mancini and Columbo, etc.
People smirk and condescend on such TV today, since Ally McBeal, Law and Order, Sex and the City, CSI, etc. are not fully patronizing and are much more relevant today (right...). If that is the case, why is the music which is supposed to heighten that "depth" (yeah...) and "sophistication" (sure...) so freaking base? Why oh why does TV music slurp so vehemently today (excepting Star Trek TV and a couple of other shows)? O.K., say that I am biased since I hated those shows with an immortal passion... In that case, I found House MD's first few seasons generally quite intelligent (you may disagree). At the same time, I was confounded by the inappropriateness of the title and dramatic musics (you may not disagree). If you can't score for - what is intended - a highly brilliant and complex, suffering personality and your music sounds like powering up a studio's gear, get the F.A.Q. out of here and give me the job!
Also, from a previous point, I remember a lecturer at the university commenting about how relatively bad is the concert music of film composers, and musing "there is justice in this world". I have to agree and say that Herrmann's, William's, Morricone's, Goldsmith's, Barry's, etc. concert musics betray nothing of what those people are capable in front of celluloid.