Poem-Making - Discovering some of the Technical Lore in Understanding and Writing It

I'm reading Mary Oliver's 'A Poetry Handbook'.  As part of doing so, marginalia (making notes in the margin) is a practice by some readers that I'm finding very helpful.  There are many new-to-me words that definitions on the same page are very useful to have (e.g. prosody, enjambment).  Then there is her chapter about metrical lines that is a whole new world to me, although master poets and/or writers may view it as common knowledge.  Using marginalia is also providing me the opportunity to make related observations based on my experience as a former musician.  

In music, a learner is taught that there is a specific number of beats in each measure based on a time signature.  That is what I find resonating for me as I read about the metrical line of prose that Ms. Oliver writes about.  She presents a very nice legend of metrical lines in poetry (five-foot, four-foot, three-foot, etc.), their names (pentameter, tetrameter, trimeter, respectively and etc.), and how each 'foot' of a metrical line is defined.  This is so similar to a musical score -- each measure being broken down into its notes/note values that equal the designated 'time signature'.  

When writing my own poetry, especially when I want to rhyme, I will count the number of syllables of each line to ensure they have the right number/rhythmic feel.  Sometimes I will replace words that don't work with the rhythmic feel in order to create consistency in the line with those in the same stanza.

I'm only 1/3 of the way through The Poetry Handbook and expect to be learning a lot more, especially as it relates to carrying the creative intention to fruition through words while seeing it through the eye of musical composition/rhythm.

Mary Oliver was a devoted reader of other classic poets and poetry anthologies -- highly recommending such work especially for students.  Do you have a favorite poet/poetry collection you recommend to others?

Note:  From the MasterClass website, it defines each foot as being made up of one stressed syllable and at least one unstressed syllable.