fundyoudaoicibaDictYouDict
fund: [17] Latin fundus meant ‘bottom’. English originally acquired it via French as fond, and in the course of the 17th century re-latinized it to fund. The literal meaning ‘bottom’ was retained until the mid 18th century (‘a Glass-Bubble fix’d to the Fund of a Vessel’, British Apollo 1709), but gradually it gave way to the metaphorical ‘basic supply, particularly of money’. From fundus was derived the Latin verb fundāre ‘lay the bottom for, establish’ (source of English found), and the next step on from this was the noun fundāmentum ‘bottom part, foundation’, which gave English fundament [13] and fundamental [15].
=> found, fundament
tweezersyoudaoicibaDictYouDict
tweezers: [17] French étui denotes a small case for carrying personal articles, small tools and the like (it was descended from Old French estuier ‘keep, shut up, imprison’). English adopted it in the early 17th century as etui or, anglicized, as etwee. The plural of this came to be used (like scissors) for a single article, and it did not take long for etweese to be apprehended as a singular noun.

The next step in the word’s transformation was the loss of its first syllable: hence, tweeze. This still meant ‘case for small instruments’, and the plural tweezes began to be used for the instruments themselves – typically implements of personal adornment, such as combs, scissors and small pincers for pulling out hairs. By the 1650s tweezes had been extended to tweezers (perhaps on the model of scissors), and this was being applied specifically to the pincers – as it still is today.
classical (adj.)youdaoicibaDictYouDict
1590s, "of the highest rank" (originally in literature), from classic + -al (1). Classical music (1836) was defined originally against romantic music.
[I]n general, as now used, the term classical includes the composers active in instrumental music from somewhere about 1700 to say 1830. Hence the list includes among the great names those of Bach, his sons, Haydn, Mozart, Beethoven, Clementi, Dussek, Pleyel, Cramer, etc. The next step beyond the term classical is "modern romantic," the composers of which school may be taken to include all the writers for pianoforte from about 1829 (when Mendelssohn published the first "Songs without Words") down to the present. The term romantic in this sense means strongly marked, extraordinary, intending to tell stories and the like. ["Music, Its Ideals and Methods," W.S.B. Mathews, 1897]
But already by 1880s it was acknowledged the term had a double sense: Music that had withstood the test of time, as well as music of a style contrasted to "romantic." Later (early 20c.) it was contrasted to jazz (in this sense more often with reference to the orchestras than to the music itself). Still later in contrast to popular music generally (mid-20c.).