So sorry ... that I seemed to have misunderstood the thread. The year, though, fails me ... as the music in a film, is probably one of the things I look at/for at first. There are way too many "non-rocking" folks to be listed, and I probably would start with the following:

Bernard Herrmann -- known mostly for Hitchcock, but his sci-fi stuff is fantastic and added so much to the films.

Maurice Jarre -- one of the rare folks that got an Oscar for regular orchestration, and later got another Oscar for also including electronic music in his soundtrack.

Nino Rota -- impossible to ignore, even when he was grossly misused in so many films.

Ryuichi Sakamoto -- His listing of films is insane, and he did gain an Oscar he shared with one other for "The Last Emperor" ... a lot of really pretty stuff in many films, though not many of them allowed the music to live like the Italian Director.

Zbigniew Preisner -- Lots of soundtracks for Kieslowski films, but his "Veronique" soundtrack was probably the best of them all ... just so well used and it is a part of the film.

Popol Vuh -- Hard to mention this one, since it was something that Werner Herzog happened to find that inspired him to create material for some films. And quite a few of them! The best used of them all would be "Aguirre", and while most mention the opening of the film, the ending is the most impressive, as the side 2 of the LP (almost 20 minutes) is used with Klaus Kinski for its whole duration, and its touches and filming are so well done ... probably the best "sync" of music and acting ever ... and you gotta remember that KK was improvising the whole time, but it might be suggested that he obviously had an ear for music and how it was used.

One film (Journey of Hope) that won an Oscar for best Foreign Film, had some material by ECM, which included Jan Garbarek (from EVentyr) and Terje Rypdal (from Eos) which added an incredible touch to the film. It was, for me, one of the first times I saw music from ECM be used in film properly, although Nicolas Roed used Keith Jarrett in "Bad Timing/Sensual Obsession" rather well, even though it was not enough for me, which suggests that the scene was cut because Nicolas Roeg was known for using music really well. ECM, in general, is a movie on its own ... thus making it difficult to be used/interpreted in film making. That's how I look at it, otherwise, the likes of Egberto Gismonti and many others would have shown up in film a lot more than they have. Gismonti, specially!