Look at how many programs have a lull just before the half-way mark, then a flurry of jumps all in a row to get that extra ten per cent bonus.
This placement of elements does not contribute to telling a story or connecting to the music.
I think that element placement, and specifically a flurry of jumps all in a row shortly after the halfway mark, can be used in a storytelling sense.
Here's the quintessential example, pre-IJS: a day in the life of an ocean wave where all the jumps in a row would be the wave crashing against the shore
I also once made up a fictional men's freeskate to music from a Hamlet movie in which there was a lot of storytelling, including a lull in the middle that could be equated with Hamlet's dithering soliloquies and then a bunch of jumps in a row that could be where Hamlet starts to take action by killing Polonius, etc.
Most skaters don't match the temporal jump placement to a story line that explicitly under either scoring system.
At best they often try to match the timing of the jumps to what the music is doing at that particular moment -- and they have the option (under either system) to cut the music to support what works best for their jumping in terms of stamina and bonus points.
People complain, oh that evil person Patrick Chan, he is going to win worlds by twenty points. Yes he is, but not because he is a better story teller or interpreter of music than the other guys. It is because team Chan makes sure that he gets every tenth of a point he can find all the way down to the toe of his CoP stocking.
Well, that too, but mostly because the quality of his basic skating -- and therefore the ease with with he can execute complex choreography -- is superior even to that of the other top men in the world. If they all skate clean, he'll win on the strength of that quality.
Strategic point-wringing does help make up for mistakes here and there, which he often needs to rely on when those mistakes do occur.