As I was looking at the videos explaining negative harmony (a concept which I've never bought into as a jazz musician or a music theorist), I immediately thought, this just sounds like 12-tone axial inversion. And then the guy drew his inversion graph, and I realized, oh, that's exactly what this is. Alan's comment should have been a clue to me, but he was brief enough that it didn't click at the time.
Not to bag on a personal discovery here, but the inversions going on through this process are things Western composers were doing around the turn of the 20th century, without the branding. In some senses, it can be analyzed through 12-tone theory or Neo-Riemmanian theory, because based on what I've seen and read thus far, it looks like the concept of negative harmony specifically rests on inverting across the m3/M3 axis of the given key. To that end, while the scripting is interesting, I'm not sure that "negative harmony" is an authentic label anymore once you pretend the MIDI region is in a different key than it is. (That Argentine Piano, for instance? That's just in C major, which happens to have the same pitches as E phrygian, which also happens to have the same pitches as the Maqam Kurd.)
So while this is all interesting stuff, I would humbly recommend studying up some on these topics within Western music theory, because many of the chords that have been arrived at mathematically through negative harmony also have justifications in Romantic era and 20th century composition that don't necessarily need the inversion axis (or better yet, can become even more adventurous once untethering from the axis). As for the further edits to the script, I'd be very curious to better understand what parameters it's applying.
Oh, and as for Bach: he didn't assign anything. In German music, B-flat is B, and B-natural is H. His name is literally spellable in German musical training.
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