If Moses's song is a national anthem, Miriam's song, as Targum Pseudo-Jonathan renders it, is a moral theorem.
She sang to the women: Let us give thanks and praise before the Lord, for might and supremacy are His; above the proud He is glorified, and above the lofty He is exalted. When the wicked Pharoh in his pride followed after the people of the sons of Israel, his horses and his chariots did He cast and drown in the sea of Suph.
The Targum pairs two verbs. Glorified above the proud. Exalted above the lofty. In the rabbinic tradition, this is a theological claim about the shape of divine justice: God rises precisely where human beings insist on rising, and His rising undoes theirs. The higher Pharaoh built his empire, the further he had to fall.
Why does Miriam's song, which is only three lines in the Hebrew (Exodus 15:21), receive so much attention from the Targumist? The Sages noticed that her version repeats Moses's opening but adds nothing about the future. No promise of the sanctuary. No silencing of Edom and Moab. Just the one event. Just this drowning.
The Maggid sees a teaching in this compression. Women's prophetic voice in the Tanakh is often more immediate than programmatic. Miriam does not need the whole map. She names what happened, she names why it happened, and she gives the women a chorus they can repeat as they dance. That is enough.
Takeaway: sometimes leadership is condensing the story so others can sing it. A song no one can memorize is not a song. It is a sermon.