The article presents a proposal for an analytical method which would make it possible to investigate relationships between the pitch and the colour parameters of a musical composition. The method is employed to analyze the sonoristic and the so-called 'segmental' compositions of Kazimierz Serocki. It is normative, formalized, and stands in opposition to descriptive analyses, widespread in the literature of the subject. The main body of the article is preceded by systematics of analytical methods found in musicological literature, both in relation to Serocki's compositions and to those of his contemporaries. The methodology of the investigation presented in the article is based on concepts and procedures taken from mathematical-natural sciences. It relies on investigating quantitative relationships between the appearance of a note of a given pitch and its colour, while ignoring in the set of initial data the parameters of time, movement and rhythm. By itself, the counting of pitch phenomena in a composition would not be justified in the domain of tonal and post-tonal music, while in later compositions it appears to be an appropriate and methodologically correct instrument. The aim of the method itself is to look for relationships between colour and pitch which are not accessible in a descriptive review of the score. These relationships are shown as two-dimensional graphs and their descriptions. The article presents the argument that these relationships not only exist and can be proven, but that they also confirm Lutoslawski's thesis as to the important role of the ordering thought processes which take place during the creative process beyond the composer's conscious awareness, i.e. 'unconsciously'. Analyses of Serocki's composition technique in his later period complements current musicological research into his work.