Do you think that Martin uses the different songs also to foreshadow the nature of his overall narrative? What I mean by that is that, as we know Martin uses several events, memories, prophecies etc. to either foreshadow upcoming plotlines, specific events etc or build the world's ethics, morals, ideology - as you both showed pretty well for the songs in the essay. People then usually use all those to speculate, build theories and all the other fun stuff of the fandom - but "songs leave out much and more" and this is 'a song' of ice and fire. (hence sometimes dead ends ar just dead ends)
I also f.e. ask myself if the last of the Giants not only, as you wrote might be synonymous for the dwindling of the free folk, but also of "the magical realm" in general - everything that one's was seem(ed) to perish in Westeros: children of the forrests, green seer, skinchanger, giants, dragons, glass candles, merlings etc. Now in the song that we read/we're about to hear all of that seems to come back, yet major events seem to be connected to the 'year of the false spring' and Lyanna "the last o' the winter rose" which only blooms for a short time. I know it's mainly, and often made before, speculation, but the songs in particular seem to be all connected and connecting the story.
So what you could do is draw parallels between the idea of a dwindling magic world, represented here by two songs connected to ice (free folk, Stark, the north) and "The Dance of the Dragons" interpreted merely as a dying of (the) dragons. If the song that Tyrion recalls is for two singers with intertwined lyrics, this could refer to Aegon and Rhaenyra as you mentioned, a historic couple in old Valyria (which both would be 100% representatives of Fire), but also to the "dance" between Ice and Fire itself. Dany and Jon have both this parallel development, especially in ADWD, learning to make decisions as leaders etc. And even though it seems less and less likely that they actually become lovers, not only was there a lot of speculation around that in the past, but there is still this prophecy of Dany's love, love, love climax. "Now" it almost seems to me that it's not Jon, but the "magical realm" itself and it's represantitives that she must light on fire (the wall, the Dragons itself? etc) before the bitter sweet ending.
Finally the two singers you highlighted are of course also represantitives of both Ice (Mance) and Fire (Rhaegar), which also underlines the importance of songs and singers and their connection to the overall narrative. It could all be a mummer's trick of course and the songs are just used to solely build the world and draw parallels to "the human heart in conflict with itself", but several themes like the tragedy of love and lovers (whether you interpret the bair and the maiden fair as an example of rape culture or the Beauty and the Beast thing, it definitely also falls under this category with Beauty and Beast or even rapist and victim can be seen as Ice and Fire (the latter of course more in the sense of light and darkness)), references to both ice and fire, the crush of narratives and characters etc. seem to be almost omnipresent in so many different songs, as well as the overall narrative, the overall dance, the overall song.
The essay analyses several songs and singers and their presentation in the text, brings them to light and therefore stimulates this and a lot more speculations and theories surrounding them - That's why I love it!
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It is too bad that the number of sales has been far lower than for A Flight of Sorrows in the same time period after release 