Title sequences are viewed in relation to, and integral of, the work they title.
But, sometimes, the qualities of the title sequence transcend the piece they belong to, and bear comparison to other art forms.
This word is not in the English dictionary. So, let’s define it here as a synergy of moving image and music; to, generally, provide a contextual narrative introduction or epilogue to a more significant moving image piece.
To start this art sub-category, let’s choose the title sequence for the 1980’s American television series, ‘Miami Vice’.
The initial season one episodes had a titleography where the moving image and the music were not well synchronised – , .
However, this was corrected (partway through season one) by a replacement titleography  which is, arguably, comparable for contemporary impact with reference work by Bass .
Jan Hammer’s music starts to a black screen. There is no image. As does Hermann’s ‘North by Northwest’.
The major beat isn’t the snare we hear throughout the music; the major beat, and image change cue, is a dissonant counterpoint to the snare.
Like Bass’ flying titles titleography for ‘North by Northwest’, set to Hermann’s unbelievably menacing and dissonant score – Michael Mann Productions kick-starts a turbo-charged titleography, set to Hammer’s cocaine heart-attack score.
At a time (1984), when television was the poor cousin to cinematic production quality; Michael Mann Productions gave us a fifty-five second game-changing masterpiece.