Pauses and Rests CV

An interjection is a part of speech that usually has no grammatical connection to the rest of the sentence and simply expresses emotion on the part of the speaker, although most interjections have clear definitions. Filled pause such as uh, er, um, are also considered interjections. Interjections are generally uninflected function words and have sometimes been seen as sentence-words, since they can replace or be replaced by a whole sentence (they are holophrastic). Sometimes, however, interjections combine with other words to form sentences, but not with finite verbs.
Interjections are used when the speaker encounters events that cause these emotions — unexpectedly, painfully, surprisingly or in many other sudden ways. But several languages have interjections that cannot be related to emotions.
The word "interjection" literally means "thrown in between" from the Latin inter ("between") and iacere ("throw").
A rest is an interval of silence in a piece of music, marked by a sign indicating the length of the pause. Each rest symbol corresponds with a particular note value:longa (or four-measure rest)
double whole rest / breve rest
whole rest / semibreve rest
half rest / minim rest
quarter rest / crotchet rest
eighth rest / quaver rest
sixteenth rest / semiquaver rest
thirty-second rest / demisemiquaver rest
sixty-fourth rest / hemidemisemiquaver rest

The combination of rests used to mark a pause follows the same rules as for notes

Multiple measure rests
In instrumental parts, rests of more than one measure in the same meter and key may be indicated with a multiple measure rest, showing the number of measures of rest, as shown. Multiple measure rests of variable duration are usually drawn in one of two ways: either as long, thick horizontal lines placed on the middle line of the staff, with serifs at either end, or as thick diagonal lines placed between the second and fourth lines of the staff. They denote a silence several times the duration of a whole rest.
The number of whole rest lengths for which the multiple measure rest lasts is indicated by a number printed above the musical staff (usually at the same size as the numerals in a time signature). Where the silence is for less than eight whole rest lengths, some publishers use a combination of four measure rests, double whole rests and whole rests to graphically indicate the extent of the rest. This serves as a counting aid and derives from 19th-century notation conventions. If a meter or key change occurs during a multiple-measure rest, the rest must be broken up as required for clarity, with the change of key and/or meter indicated between the rests. This also applies in the case of a double-barline, which demarcates musical phrases or sections (a tacet instrumental part to a song may contain a sequence of multiple eight-measure rests, for instance).
The four measure rest or longa rest is a symbol found in Western musical notation denoting a silence four times the duration of a whole rest. They are only used in long silent passages which are not divided into bars.
Four-measure rests are drawn as filled-in rectangles occupying the whole space between the second and fourth lines from the top of the musical staff.
Dotted rests
A rest may also have a dot after it, increasing its duration by half, but this is less commonly used than with notes, except occasionally in modern music notated in compound meters such as 6/8 or 12/8. In these meters the long-standing convention has been to indicate one beat of rest as a quarter rest followed by an eighth rest (equivalent to three eighths).
Double-dotted rests, while theoretically acceptable, rarely appear in printed music, due to notational conventions and a concern for clarity.

In music, the symbols instructing players to be silent are rests. More substantial silences, lasting several seconds, occasionally appear in musical works. There are a very few examples of completely silent musical works; the most famous example is John Cage's composition 4'33", which consists of four minutes and thirty-three seconds of apparent silence, although the composer's intent was to draw in to the piece all the random indeterminate sounds of the audience and their environment. Cage had this to say about silence: "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music."

In debate
Argumentative silence is the rhetorical practice of saying nothing when an opponent in a debate would expect something to be said. Poorly executed, it can be very offensive, like refusing to answer a direct question. However, well-timed silence can completely throw an opponent and give the debater the upper hand.
An argument from silence (Latin: argumentum ex silentio) is an argument based on the assumption that someone's silence on a matter suggests ("proves" when a logical fallacy) that person's ignorance of the matter. In general, ex silentio refers to the claim that the absence of something demonstrates the proof of a proposition.