First off, thanks for the missing link alert. Here it is:
My Zelda: https://www.youtube....h?v=XHe1z98sBC8
As for your ABC version of the tune, well I agree and I don't agree. Actually, I think it's just a cultural thing, that is, we all can't help but impose our cultural template on the music we hear.
For instance, I play traditional and new music for gamelan (Indonesian pitched percussion orchestra). My western ears want to hear the down-beat at the beginning of the music. In writing that down I would put the down-beat at the top left of the page with the big gong there. That is not how Indonesian musicians think of it, speak of it or write it down. They put that stressed beat at the end of a phrase. They might have a group of four beats with the stress on the last beat, but in listening to it, I would swear that the gong is on the down-beat of the next measure. On the page, that gong is the last note, not the first.
It can twist your head around.
Consider this book: http://www.mudthumper.com/fiddletunesbook.html
The Milliner - Koken Collection of American Fiddle Tunes. Follow the link and look at the examples. There are no bar lines because so many of the tunes are crooked. Milliner and Koken decided that putting bar lines in would be a purely editorial decision based on cultural norms not really shared by the source players that the tunes were collected from... so they left them out. This was to avoid having to do the kind of thing you did in reconfiguring the Zelda notation.
Example #2 is more to the point. Listen to Kost er C'hoat.
Two French (Breton) dance tunes that I got from Alan Day and put up in 2006. They also have that interesting feature that makes us like Zelda so much. Strong harmonic changes half way through a measure that makes me unsure where the measures are.
To sum it up... you can write Zelda down any way you like, or not at all, but IMO, what makes it sound so cool is that it sounds so French.
Edited by Jody Kruskal, 16 April 2014 - 10:48 PM.