Jennifer,
I'm going to choose to believe that your research simply falls a bit short and that you didn't cherry pick information and take it out of context on purpose.
I'm sure it's just a matter of your not having enough time to go far enough or deep enough to get to the conclusions about CIELAB to Munsell conversions. Look up tables is the rest of the polynomial equations story and why conversion from CIELAB to Munsell works - and works well especially in an architectural color application.
Even with the small areas of known uncertainty like the Blue to Purple-Blue hue family neighborhood (ish).
The known, and well-documented, areas of uncertainty is one of the reasons I'm constantly dropping reminders that we can't color by the numbers alone. In an architectural application how it looks is what counts most anyway.
Alos, I'm usually the ONLY one on the threads here on the forum cautioning against using only Kelvins and the need to reference CRI as well.
As I said before.
You are trying to use device dependent digitized swatches to compare data values that model in-real-life color appearance. It doesn't work that way.
The problem is you do not understand the difference between device dependent and device independent color spaces.
I encourage everyone to make their own conclusion about how well a framework of LCh and Munsell notations works for not only for describing, defining and ordering color but also as a framework for creating basic color harmony.
Here's how ya do it. You can use ANY color collection. We're using the Affinity collection just because the chips are nice and big and it's a compact 144 chips.
Get a Benjamin Moore Affinity Fandeck. There are 144 chips. Great range of colors and perfect for trying to break theories.
Use this table to look up each color by number and copy the notation on to the back of the chip.
Here are hands-on exercises that demonstrate - visually - how the data values and notations translate to color in real life.
Sort and group the colors by hue family.
Sort by value.
Sort by chroma.
Sort by hue angle.
For fun you can also sort by LRV just to see what you get.
It's more fun if you sort the chips color down, notation up and flip them over when you're done sorting.
At this point, I've had several hundred students complete these exercises and I'm always amazed at the creative color combinations and individual discoveries!
Again, you don't have to get too crazy accurate about the light source - experimenting under different light sources is actually ideal. Because this is about seeing, first-hand how the framework works in real life application.
If you don't want to get an Affinity fandeck, you can also experiment with the colors from this infographic. Get some or all of the colors. I'd say you need at least a dozen.
If you decide to use these colors of white, also experiment with the rule of thumb that as long as there is a difference of 0.20 in Munsell Chroma, neither color of white will make the other look dirty or dingy.
These exercises will give you a good understanding of the basics.
As you get more fluent with notations, you'll innovate other ways to apply what you've learned on your own.
Q