So I learned how the iambic pentameter worked by reading Milton and Wordsworth. I was shocked in grad school that people didn't know this. I also knew French and Latin and Greek prosody, and I did my graduate exams on this subject. I was shocked when a science fiction novelist on a blog (the valve) a few years back thought he could translate Mallarmé, but he didn't know what the definition of a feminine rhyme was in French. People thought I was outrageous for pointing out that that showed a level of ignorance that disqualified you from even thinking intelligently about Mallarmé. I was the bad guy here, simply because I thought that it is important to know a simple rule of French versification, one followed by Racine or Baudelaire in all their verse. I'm sure people write about Afro-Cuban poetry without knowing the difference between the son and the rumba clave.
I enjoy the technical aspect of prosody. It's one of the few things you can know about in a fairly concrete way in literature. I enjoy the fact that others find it dull or incomprehensible: more for me to do.
I had to train myself to hear an 11-syllable line as 11 syllables (in Spanish), and scan it more or less instantaneously.
I am prone to ear-worm, but with me it occurs with words and phrases, not just melodies.
My attitudes did not win me many friends.