Tango, good stuff, thanks for sharing.

In Logic, at least, the inverse harmonies result from flipping all notes of all parts around a specified pitch. If you set C3 as the axis pitch, every note below C3 moves to the corresponding point above it, and vice versa. It would be interesting to learn more about what happens to keys and chord progressions when you flip them around different notes; I'm sure Learned Men have had this all figured out for centuries.

I have similar philosophical issues as those you mention, when describing the pieces I come up with using BIAB. What words to use, how to credit who for what. The software tech is too confusing; I just say what it does and ask people to think of me as the conductor of a band of very talented musicians who have the skill and artistry to turn my general directions into actual performances.

Another area in which I wonder who is writing my stuff, sort of the opposite of turning the Beatles upside-down:

There's this musicoid material I make using pitch recognition on natural sounds and rendering the results with virtual instruments. Take a canary and turn him into a soprano recorder, take a bunch of chickens and turn them into a guitar, take Ted Cruz and a debate questioner and turn them into a saxophone being asked questions by a piano. Start with MIDI material like this and see what happens. But in the end, what am I holding? Is this really a collaboration between me and a canary, as I have said? If I "songified" the pitch track of Ted Cruz's answer on waterboarding, does that make Ted the author of the resulting melody?