Amanda Petrusich has written that genre is disappearing but where is genre disappearing in music? Within "pop"? I would suggest that is because there are simultaneously only so many ways to write songs and there are so many ways to write songs. Genre within music that is anchored, at whatever level, to the sound of the human voice may be having a moment of dissolving boundaries and that's something fun to observe. But ... while there's this Petrusich article at The New Yorker there's another by David Karlin at Bachtrack about how the age of streaming may spell disaster for the monetization of classical music. Spotify may be a friend to pop in an era where genre is said to be disappearing but instrumental music isn't necessarily the same as "pop" and "classical music", however that gets defined, is not, at the moment, aided by Spotify's approach.
If you ever wanted to read a series of brief but interesting posts on women prophets in the Hebrew Bible Claude Mariotinni may have just the series for you. One of his observations is that among the seven women regarded as prophets in the Tanakh several of them are known for songs (Miriam, Deborah, and Hannah). Mariotinni also points out that there were daughters of Heman who, depending on how the text is translated, were prophets among the musicians in 1 Chronicles 25:5-6.He argues that based on the textual evidence available there may not have been legions of women serving in formal cultic capacities in ancient Israelite religious practice but that women were accepted as having public prophetic roles is indisputable and that in several of the cases available in the canonical texts women as prophets were associated with song and dance.
Belatedly throwing this one in about how the arts in Canada have taken a beating in the covid-19 era but live music has taken a particularly hard beating from the lockdown protocols.