In Vāyupurāṇa (Vayupurana)and Brahmāṇḍapurāṇa (Brahmandapurana), there is discussion about the alaṃkāra(s) (alamkara; ornament). There are about 300 musical alaṃkāra(s). This musical alaṃkāra is defined as the connection between the varṇa and pada(s), with their anuguṇa (anuguna; following attributes). Sangītālaṃkāra (Sangitalamkara; musical ornaments) is expressed by the association of pada (meaningful word) and vākya (utterance) —
alaṃkārāsta vaktavyāḥ svai svarvarṇai prahetavaḥ.
samsthāna-yogaiśca tadā padānām cānvavekṣayā.
vākyārtha-pada-yogārthairalaṃkarasya pūraṇam.
The are three positions of gītavastu (gitavastu; subject-matter to be sung) – the breast, the vocal part and the head. According to the connoiseurs of music, varṇa is of four types — sthāyī (sthayi), sancārī (sanchari), ārohaṇa (arohana) and avarohaṇa (avarohana). The varṇa where the melody and notes have a movement, is called sthāyī. The varṇa whose movement is in various form, is sancārī. The one whose movement is upward, is called ārohaṇa, and the one with a downward movement, is called avrohaṇa. As per the distinctive application of these varṇa(s), with proper position and balance of kalā (kala) and mātrā (matra), thirty kinds of alaṃkāra are applied, and they are of four types. They are -sthāpanī (sthapani), kramarejinī (kramarejini), pramāda(pramada) and apramāda (apramada). Alaṃkāra requires four attributes — saṃsthāna (samsthana), pramāṇa (pramada), vikāra (vikara) and lakṣmaṇa (lakshmana).
Just as ornaments worn by people decorates their body, the application of alaṃkāra in music, according to proper time and place, enhances the beauty of the Saṅgītavarṇa. On the other hand, if one applies an ornament in an improper place — as if, an earring is worn on the fingers of the feet, or the waistbelt in place of necklace and so on — a misappliccation of musical ornaments is also detrimental to the quality of the music.  So the singer should elaborate upon the  rāga, and in this process , apply the alaṃkāra in the proper place —
evameva hyalaṃkāro viparyaso vigarhitaḥ.
kriyamāno’pyalaṃkāro rāgaṃ yaścaiva darśayet
yathoddiṣṭamya mārgamya kartavyasya vidhīyate.