I had the luck and privilege to be taught in undergraduate from a cursory text designed as a quick review for returning graduate students, and under the tutelage of an Emeritus professor each class saw supplemental hand-chosen examples from literature which were the subject of our study and the works to analyze. I think this is half-way to working with a private tutor as in 'the old days.'
From a brief glance and confirmed by other musician's comments -
I'd throw out the Hindemith, second rate books self-justifying the way he wrote, never well regarded other than a brief vogue of modernism and "our American -European composer wrote a textbook." Students of same are still spouting ridiculous garbage about the 'naturalness' of the western scale, triads, common practice tonality, etc.
(The composer was in the phase of his career when he was composing more than ever 'music by the yard' from his theoretic standpoint - those works barely distinguishable one from the other and saying 'nothing.' Theory is anything but a bunch of 'rules' or 'laws.' Hindemith. in the most negative cliche of Teutonic mentalities, set down bunches of them, his, so you can write like Hindemith - at the nadir of his creative output on top of it.) These are severely dated artifacts.
Schenkerian analysis is 'interesting' as Elliott Carter put it, for 'seeing that a piece descends, say, one octave over the course of the work.' but other than that tells you 'little.' The incentive was to design a general theory system with the intention fo prove all German Music superior to all other music.
I would avoid any text with 'voice-leading' in the title, and instead pick up a decent counterpoint book.
I would avoid any text or theory program which separates and then separately concentrates on melody and chord progressions. If you want to be an adequate classical musician, these are inseparable and taught together from the start: to learn less in another manner will make you less adequate to the task. (If you want to become a very well-versed pop songwriter, or enter other arenas of pop music, study melody and chord progressions apart.)
At any normal university, Harmony 101 starts with Bach Chorales - these perfectly clear examples cover simultaneously 'melody' 'chord progression' and 'voice leading' - breaking them down further just keeps you simple when you need to immediately handle all three at once to get anywhere.
The Kennan books are used widely in the states: clear, plain and straightforward, so much so and so accessible they are also used in high schools music programs offering theory. They are loaded with other practicalities, mentioning 'limits' of composing for less than professional groups, high school level bands, pragmatic tips on average ranges and other technical limits well worth keeping in mind to compose playable music for that level.
I recommend an old-style text on modal counterpoint just as Mozart and Beethoven would have used, and only then look into later Baroque counterpoint. If you admire the earlier north European pre-baroque contrapuntists, find a book by a north European. If you more admire the French and Italian schools, look for a text from one of their masters. ~ They are often taught in reverse order these days, which makes not a whole lot of sense, since half of Bach at all times is half modal thought, which is where he came from and transited through.
You should have: Rameau Treatise on Harmony / Rimsky-Korsakov on orchestration: Keep in mind any period document such as the Rameau, Berlioz, etc. is a period document dealing with instruments and sensibilities of the era, and often an aesthetic unique to the author. They are quite valuable, but one must keep those factors in mind as well. Unlike the Hindemith, these are GOOD dated artifacts.
I have not been exposed to the others on your list, because I was so generally taught 'custom,' with just that frame of a textbook and ditto for the counterpoint. One can get crazy-involved with different texts.
At the freshman entry level, there is all of common practice period to cover. Past a point, you will learn from texts covering the same or similar material more about what the author thinks or believes, an aesthetic, more than theory itself.
Read about anything contemporary, even if you do not grasp it the first time and may not until later after years of study. It is what is going on now, which we should all be aware of first. The past is relevant only to us as it refers to our present, or it is dead artifact. Learn a lot about period history beyond dates. Read popular novels of the day, look up what people wore, try and get a grasp on the 'collective ethos' of an era. By all means examine art, literature, architecture and the decorative arts. Sometimes a mundane record of correspondence between two ordinary people tells much.
Best regards.