Beats and rhymes we understand fairly well; but it is likely that writers intoduce non-random order into other features, mostly surface features. A complete phonemic markup and statistical analysis, using the abstract principles established in Aoyama and Constable (1999) and Constable and Aoyama (1999) is likely to reveal this in many though not all poets, and disproportionately amongst those of the highest reputation.
I would look first at Marvell, Milton, but not Shakespeare (he is an intellectual poet, not a musical one, strange to say); nothing in the Eighteenth century, interestingly, but Pope should examined as a test of that proposition, then Keats perhaps, Tennyson certainly, Kipling, Stevenson, De la Mare (a prime suspect), and Yeats. There seems to be a vogue for such musical arrangements in the late 19th and early 20th Centuries. After that, Pound no, Stevens yes, and Eliot too. Subsequently, popular lyrics matter more for metrics: Dylan I suppose, Queen, Abba and the one-hit-wonders, the uniquely greats. Rap strikes me as unlikely, a bit eighteenth century really; but I could be wrong.