The anonymous undated Pseudo-Ildephonsus (PL 96 coll 239 seqq) makes most use of this anthem. He relates it to Bethlehem (1) and to the Dormition (2). "We are invited to the cradle of this Infancy, which the angels frequent (frequentant) ... For dramaton, my beloved ladies, is a type of song, in which type the SS is said to be written. Lo! we are commanded, so that a more generous chanting may be commended, to repeat (frequentare), in honour of this Virgin, sweet songs in this genre, where [ (1) Angels, the star, magi, shepherds, are all at it] ... before whose couch, I ask you again, that at her burial (2) you should sing not dirges (threnos) of sorrow, not lamentations of weeping, but sweet songs to God, for today She has now, rejoicing, arrived at the King's bridal chamber ... where the choirs of Saints alternate wedding songs, where epithalamia of bride and groom are melodiously chanted ... she herself [the Virgin] sings with them [the heavenly host] a new song of drama, which nobody is able to sing except in that choir ... all the flocks of the heavenly order today in joy receive her, singing Hosannas under the drama of jubilation before the Mother of the High King." I think he is enjoying, wallowing in, the deployment of an exotically alien word. (Perhaps like modern preachers who know four Greek words, of which Koinonia is one, and constantly seek the admiration of their hearers by repeating it.)
That, of course, is only evidence of how one author took it. But I think he might be getting it generally right.