During the next week, I will focus on improving Parts 2 and 3 of my project.  

In Part 2, I intend analyze the recordings of Huberman and Bell without any sound manipulation.  The analyses will only be of the musical interpretations, however I hope that some of the differences will be related to sound quality issues.  (As some of the recordings in Part 1 demonstrate, musical features can be lost or masked by recording techniques and artifacts.)  I intend to demarcate the bowings, fingerings, articulations, slurings, dynamics, vibtrato, etc. as best as I can for the various recordings on a sudo-score.  I may also embed some videos that will demonstrate differences in tempo and rubato.  

Part 3 will hold the bulk of my work.  In the introduction to Part 3, I will explain what I can about the violin, the nature of its repairs, how the sound has changed.  The remainder will be an experimental writeup.  I have been using Spear to extract and copy harmonic structures from Bell's recording to Huberman's recording.  I intend to meet with some CCRMA professors to devise a method of doing this in the most objective way possible.  I am envisioning a matching system of some kind that will control how many partials will be added and how loud they will have to be based on measurements of the fundamental frequencies.  

I would like to read the Flesch Memoirs about Huberman.  Unfortunately, I don't know the trajectory of violin performance styles nor where Huberman fits into the puzzle because much of what is written about him rehashes vague stories of his disappointing lessons with Joachim's assistant.  I can however use (or suggest that someone in the future use) the results of my experiment to look at older recordings in a new way. Bowing articulations and tone can change musical features of recordings!