"Each of these dramas," he says, "had its own particular subject matter, character, charms and style.

The music, which formed an integral part of it, was equally different in the one from the other."[2] [Footnote 1: "Les Origines du Theatre Moderne ou Histoire du Genie Dramatique depuis le Premier Siecle jusqu'au XVIe." Paris, 1838.] [Footnote 2: "Histoire de l'Harmonie au Moyen Age." Paris, 1852.] The liturgical drama, which was chronologically the first of the two forms, originated, as we have noted, in the ceremonies of the Christian church, in the strong dramatic element which inheres in the mass, the Christmas fetes, and those of the Epiphany, the Palms and the Passion.
These are all scenes in the drama of the sacrifice of the Redeemer, and it required but small progress to develop them into real dramatic performances, designed for the instruction of a people which as yet had no literature.
The wearing of appropriate costumes by priest, deacon, sub-deacon and boys of the choir is in certain ceremonies associated with the use of melody and accent equally suited to the several roles.

Each festival is an anniversary, and in the early church was celebrated with rites, chants and ornaments corresponding to its origin.

The Noel, for example, was supposed to be the song which the angels sang at the nativity, and for the sake of realistic effect some of the Latin churches used the Greek words which they thought approached most closely to the original text.

The Passion was the subject of a series of little dramas enacted as ceremonials of holy week in all the Catholic churches.
Out of these ceremonies, then, grew the liturgical drama.