hey there - just to offer my armchair two cents on the subject...
i am definitely no electrical engineer but to me Q, resonance and bandwidth are basically the same thing. this is commonly found in parametric EQs - there's not a lot of difference functionally between a fully parametric one band EQ (with gain/cut, frequency center and Q) as compared to something like a bandpass filter on a synth, although synth filtering is generally covering a much wider range to achieve a lot more sculpting possibilities, whereas mixer parametric bands are more limited in scope.
the difference to me between a bandpass filter as traditionally applied in synthesis and a resonant bandpass filter is the additional setting of resonance basically. this acts as a bandwidth control which makes the peak more and more pronounced. in a synth a standard bandpass filter would usually have a single control for frequency, while the bandwidth and gain would be preset. adding a resonance/bandwidth control narrows the range of the band and eventually at high settings it can self oscillate. but the main issue is i believe the same mathematical /signal principle is involved, it's just that at low settings it sounds more subtle and high settings more dramatic.
however since synth filter design is a bit of alchemy, i personally wouldn't be surprised to see unusual methods applied in the process to create a more robust sound, like ganging up bands, or possibly offsetting the resonant peak as compared to the center frequency. i'm totally guessing but i'm curious what things synth companies do or did to create their warm, fat sounds that still sounded different from maker to maker - even later on when they were using chips like the Curtis filters.
scott