A limited search on this subject yielded some interesting results.
First, I found a paper written by some folks in Spain.

"Methods based on probabilistic approaches such as Cope’s Experiments in Musical Intelligence (EMI) [18], [19] also focus on the creation of an automatic music composition framework. Both EMI framework and the proposed system are based on probabilistic models (for pattern selection) and the training data stored in the database comes from musical features extracted from MIDI files (rhythm, pitch, dynamics,…)."

The reference to Cope's Experiments in Musical Intelligence, got my attention, and this is what I found on it .

"While some of the music composed using this approach did prove fairly successful, most of its output was equally uninteresting and unsatisfying. Having an intermediary - myself - form abstract sets of rules for composition seemed artificial and unnecessarily premeditative. As well, having to code new sets of rules for each new style encountered proved daunting. I therefore revised the program to create new output from music stored in a database. My idea was that every work of music contains a set of instructions for creating different but highly related replications of itself. These instructions, interpreted correctly, can lead to interesting discoveries about musical structure as well as, hopefully, create new instances of stylistically-faithful music."

While both of these references don't deal directly with creating a desired style from a menu of tracks (RTs) it does show me that some quite capable people are working on pushing the limits of music generation. David Cope in particular seems well-credentialed in the areas of music composition and computer science. I'm convinced that at some point a team, somewhere, is going to produce, commercialize and market the wish expressed in this thread. I hope it's PG Music.

https://soundcloud.com/user-646279677
BiaB 2025 Windows
For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.