I'm interested in...creative ways of weaving in melody with harmony.
Consider the following quote and whether it applies to your interest:
The process of creating melody, during the period we are now
considering, is hardly to be separated from that of creating harmony.
Not only is it extremely rare that a composer first writes a melodic
phrase without reference to its harmonic background, but melodies are
most commonly derived from harmonic patterns chosen in advance.
I think it is applicable. The source? Counterpoint by Walter Piston. This quote is from the third chapter The Harmonic Basis which includes an overview of all the non-chord tones. Other chapter titles include Melodic Curve, Melodic Rhythm, Harmonic Rhythm, and Motive Structure. The focus is on 18th century music: Bach, Handel, Haydn, Mozart, Beethoven, but also some 19th century composers. In other words it's the common practice era that I think you are interested in rather than Palestrina and the 16th century. It contains no Fux, no species counterpoint, no rules. There are over 300 musical examples and almost all of them are from actual repertoire.
The bulk of the book gets into truly independent lines and that may go beyond the chords plus melody part of your question. But the first four chapters are a great discussion of melody and the interplay of melody and harmony. The chapter on harmonic rhythm includes chord symbol analysis for all examples. Overall there is a much more integrated discussion of melody/harmony/rhythm that you will get from a typical harmony textbook. I think you will like that.
Am I suggesting the topic keyword is counterpoint? To some extent yes, but I wouldn't get hung up on any single term. Avoid getting trapped in a counterpoint/harmony or melody/chord dichotomy. Glean what helps you from multiple subject areas.