I am currently working on a massive project, creating an English Gregorian edition of the Liturgy of the Hours (with Latin antiphons) -- and what you discuss is a major part of this project.

I have, in fact, devleoped a systematic approach to pointing the Grail Psalms to the traditional monastic tones. I can sum it up very simply: I treat it as if it's Latin!

If a phrase ends with an oxytone, I ignore the oxytone and, based on the previous accent, do one of two things: 1) if the previous accent is a paroxytone, I give it its accent, effectively creating a proparoxytone to end the phrase, OR 2) if the accent falls one syllable sooner than that (i.e. the end of the phrase being a true proparoxytone followed by an oxytone), I give the accent to the final syllable of the true proparoxytone - assuming the singer(s) - or at least the director - know how to declaim English intelligibly and will perform the "accent" appropriately.

While the second case above in particular may seem a random choice to some, to me it effectively produces satisfactory results. I have chosen to implement it for several reasons:

* It does not require altering (by means of adding or subtracting notes) the original Gregorian tones. I would argue their beauty and recognition as being Christian/Catholic come from their melody over their accent pattern. Respecting their melodic patterns over their accent patterns seems to me more valuable than abandoning some elements of both simply for ease of pointing (as is the case for the English tones popular in many current pointed editions, e.g. Mundelein Psalter, Simple English Propers). If a text is adequately pointed, it does not (at least for me) inhibit my ability to declaim the text well or understand it for purposes of personal prayer and meditation.

* It seems to follow Solesmes' current choices when this same thing happens in Latin - and it does indeed happen! Solesmes' own pointing of the Latin Psalms in the Antiphonale Romanum II clearly demonstrates their current preference for the melody of the Gregorian tones in those occasions where "the cadential accents are necessarily out of step with Latin text's accents."

* Anecdotally, I have discovered it often produces satisfactory results because in cadences of two accents, the first melodic accent will then line up with the accent of a proparoxytone followed by an oxytone. In cadences of one accent, there are often preparation tones that melodically aid the initial accent of a proparoxytone followed by an oxytone.

With respect to the Revised Grail Psalms, for purposes of my project, however, I'm beginning with the original Grail Psalms. This is because 1) they are still the official text of the Liturgy of the Hours, and 2) I intend my edition to be able to be used compatibly with others in community who may be using existing liturgical books. It is my intention, though, to immediately follow this up with a similar version incorporating the Revised Grail Psalms (since they are approved for liturgical use - which I assume also includes the Liturgy of the Hours).

(And while I find the Revised Grail preferable in many ways, I must admit the original Grail Psalms are not really all that deficient with regard to any "closer resemblance to the Latin metrical forms.")

In my own pointing of these Psalms, I have found they work quite well with the traditional Gregorian tones and have not really discovered what all the fuss is about with those who claim they do not work adequately with English.

(As an aside, I find it interesting that I've been musically criticized for giving too much stress accent to Latin... I suppose from my above conflict of viewpoint on English with some of the same authorities, I might also be criticized for not giving enough stress accent to English!)

Best wishes for the project, SkirpR!

SkirpR: I would like to see an example of your pointing. I too appreciate preserving the monastic tones melodic FORM rather than fussing too much about word accents. Mediant and terminal cadences are themselves accents, in an expanded form- in slow motion. I have a 1982 Missallette here: everything is pointed: the Missal propers, the ordinaries, and the psalm verses,the Alleluias, and acclamations. I would like to see that again.
I am hearing more and more comments from individuals who appreciate the verses to the antiphons,(which do not appear in their worship aid,- ) how certain text touch them in new ways, perhaps psalm verses they have not ever heard before.

Here is Bruce Ford's article: It has been very helpful to me for solo cantors.

Yes, Ralph. The stressed syllables are marked, so Gelineau tones can be fitted to them. For other tones like Saint Meinrad or Conception Abbey tones, the last pointed syllable in each line can be used and the others ignored.