In this music, how does one enter the diagonal markings over the notes? (stressed accent symbol doesn’t cut it). I’ve looked through the glyphs in the notehead editor (which is not easy to browse) and not found anything like this. Any thought on how to enter these (preferably not involving the confusing notehead editor)?
Well you can use this for the ‘accent’ ones, but the ‘grave’ ones - it’s the notehead editor.
You can even use the Engrave Mode to snug them down tighter on the notes if you want. But this is only half the answer.
[I believe in using the right tool for the job. I know this is a Dorico forum, so pardon me. but Lilypond is very well adapted for this sort of music, and it’s easy to learn enough to set psalms fairly quickly.]
Or, just enter something like a grave glyph in whatever font and use Engrave Mode to snug it down.
This sort of marking is better as a playing technique because those automatically center on the notehead.
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Why not pick an articulation you won’t use (there are several) and edit it in the Music Symbols editor?
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Yes – Actually I take back post #2, because you want the mark in the space above the notehead, and playing techniques stay outside the staff. The articulation solution is better.
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I am not an expert on psalms. Is this actually a pointing indication? If so, there re many other ways to do that I believe. Where can one find more information on the convention you are using?
I would also be interested in what these marks instruct a singer to do. I’ve sung plainsong in the past from a different kind of notation and am curious what these marks mean.
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The point being (pardon the apalling pun) the other pointing notation conventions I have seen would appear to me much easier in Dorico.
I’m quite curious what the backwards tick means. I’ve never encountered this before. I always exclusively see the forward tick. In fact, I have a chart of all the office psalm tones on my wall, and not a single one uses this symbol. My curiosity is piqued.
(Edit: while I’ve never encountered it, I do see that there is a way to encode the backwards tick in GABC, so clearly there are instances of it out in the wild.)
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Thanks for all the ideas. Between playing techniques, articulations, accents and the grave glyph it gives me some ideas to work on. (One of these days I’ll spend time learning how to use the notehead editor).
For those asking about how/why these accents are used, I’m not 100% sure. I’m part of a team digitizing lots of hymns and hymnals. This one is from Worship (3rd edition), 1986, published by GIA publications, editor is Robert J. Batastini. Beneath the psalm tone is text as shown in the example. (There are no lyrics in the music).
Can you post the psalm tone so we can try to connect the “dots” 
?
It’s in the first post.
Judging purely on that chant, there is a subtle distinction between the first strophe, where the cadence moves from the reciting note directly onto the final note; and the others, where there’s several notes following the reciting note. But the distinction doesn’t help you sing it any better/differently. 
By “digitizing”, you mean re-typesetting? Presumably at the behest of the publisher(s)?
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I’m waiting to hear back as to what I can say about the project other than to say it is all above board and done with the full knowledge and support of the rights holder/publisher. I said "digitizing"because I think some of the hymnals don’t have existing computer files to work with. I’m not sure how things were typeset in 1986, in this example. (Since we’re not actually doing every hymn in a hymnal, so far at least, it was probably inaccurate of me to say we are engraving entire hymnals). Of interest perhaps to this group is that the final product I submit is musicxml which then ends up in verovio which IMHO doesn’t output notation as good as Dorico.
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Is MusicXML going to capture these specialised playing techniques/system text/whatever? If not, this is futile.
I am no expert in MusicXML but I know it never rose to meet the initial grand expectations of a universal expression of music interchange and so there may be limitations. Others here will know. I raise this to stimulate comment on that.
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That was my question as well. I very much doubt XML is going to covey those marks.
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Worse: if you “re-purpose” an articulation by changing glyphs, then you’ll get that articulation in the XML.
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I agree, other than the articulations, xml probably won’t support some methods of doing it. But, I do want to know how to do this in Dorico (and also with the hope that some day dorico has a full-featured xml export).
I’ve asked about and I really think this was a publishing foible, and is not standard practice, and might very well behove you to subtly “correct” to the normal stess mark. FWIW.
It’s not my call, and it’s between you and the team you’re working with, but it might be worth pushing to just switch it.
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I will definitely suggest this. Maybe a dumb question, but what is the "correct"stress mark? My performance experience has been limited to Anglican chant (which, in the material I’ve done consists of bold text and | lines as to when to change). Most every form of chant I’ve engraved has been written out under the notes.