This article examines different concepts and models of musical meter in light of a case that illustrates some of the challenges of developing a general theory. More precisely, in the musical example analyzed—a Swedish Polska tune—there seemingly are no isochronous metric levels (measure, beat, subdivision). Given this observation, the aim is to consider the explanatory potential of different models of metrical coherence as well as to suggest some new avenues of enquiry. The article concludes by offering an alternative framework for understanding how temporal relationships can be controlled and form coherent patterns despite vast irregularities.

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