Hmm, both SA articles were by Carleen Maley Hutchins and apparently those are the only two SA articles she wrote, 20 years apart. Wonder if she is somehow related to brilliant Bernie Hutchins of electronotes fame? Google shows no results for the combination of names. She has a wikipedia entry-- https://en.wikipedia.org/wiki/Carleen_Hutchins Apparently a famous violin builder/designer/researcher!
Here is the article-- http://fiddlerman.com/wp-content/forum- ... plates.pdf
Would suppose that there is more recent research on the topic. In that 1981 article, though all the content is interesting, the resonances and method of measurement is displayed on page 10--
The curves reflect the same test procedure: a constant-current sine wave to the bridge, with the response of the violin (hung on rubber bands) picked up by a microphone 14 inches away in a fairly non-reverberant room.
So perhaps rather than taking violin/viola/cello/bass violin audio recordings and trying to infer the resonances, it might be more "accurate" to locate excellent examples of the instruments, unstring them (or somehow non-destructively mute the strings, lots of twine or foam wound in the strings or whatever). Then test with a method at least as good as those used by Ms Hutchins. Or find good academic papers somewhere, where such careful measurements have already been published.
Am wildly guessing an unstrung instrument would give better measurements. Could perhaps get decent-enough results out of something like Room EQ Wizard, given proper measuring equipment and room. Dunno if strings could be sufficiently muted without messing up the body resonances. The muted strings would perhaps drain too much energy out of the resonating body. OTOH, without string pressure on the bridge, perhaps the "un-strung" body resonances could have different frequencies and amplitudes compared to the instrument strung-up in playable condition?
Alternately, maybe the resonances could be measured by recording a large series of recorded violin notes, then process the many notes to eliminate the pitch-specific harmonics, resulting in the body resonances common to all notes? Maybe a scale played pizzicato would be better than a scale played with the bow? The body resonance might also have different characteristics when held in playing position, and perhaps the body resonances could even vary according to which player is playing the instrument? How the player holds the instrument, etc.
The sample recordings ideally would be done in a very dry quiet room. Maybe anechoic chamber most ideal? Most rooms contribute significant resonances to any recording. Would be a shame to be trying to emulate accidentally recorded room resonances, when you thought you were copying the instrument body resonances!
Edit-- The chart in that electromusic article appears the same as one of Hutchins' measurements posted in the 1981 SA article.