Problem statement: Researchers describe periodic musical structures as square antecedent-consequent, which forms a large part of musical works. In such structures, longer pauses exist at the end of the antecedent and consequent. Shorter pauses also exist in the middle of the antecedent and consequent. The formal attitude of binary, ternary, and periods from Kuregian’s perspective (metric sequence) and other sound group research all illustrate the metric’s encirclement in melodic structures. The poetic structures also follow the principles of musical metric progression.
Research objectives: This essay aims to find a mechanism to describe the rhythmic circular structure of children’s poems and then test the theory obtained in a statistical community. In previous studies, researchers have examined the rhythm and prosody of children’s poetry as external musical factors, and there are also models for folk poetry and prosody. However, applying the metric function to folk poems, primarily based on listening aesthetics, has yet to be done. 
Research method: This research method is quantitative-qualitative. The first step uses a qualitative method based on library sources to describe fundamental theories. In the second quantitative phase step, 20 participants participated in a listening test. 
Conclusion: Children’s poem structure can be defined based on the principles of metric progression. The results for 90% of the audience illuminate that listeners prefer square division patterns and find them more natural. For this reason, most folk poems follow antecedent and consequent periodic types.