Like many of Disney's early CinemaScope films, a "flat" version shot in 4:3 ratio was made for theaters that were not equipped for CinemaScope. This required rearranging the artwork for some shots to accommodate the smaller screen. Shots of multiple repeated characters (like the bird chorus at the end, for instance) were cut in half, using two repetitions instead of four. The most notable change comes at the transition from the end of the "Boom" section to the parade that starts the finale. In the CinemaScope version, the background and characters fade out, leaving the drum in the last scene alone; the drum then jumps from the side of the screen to the centre, and the parade fades in. In the flat version, the camera zooms in on the drum, dissolving into the parade and zooms back out. Other changes occur in the flat version. The world premiere of "Toot, Whistle, Plunk and Boom" was first shown at the Fulton Theatre (now Byham Theater) in Pittsburgh, Pennsylvania on its release day. On March 27th, 1959, American Broadcasting Company's Friday evening program Walt Disney Presents telecast its first television showing of "Toot, Whistle, Plunk and Boom". "Toot, Whistle, Plunk and Boom" was reissued in 1963 as a companion short to that year's theatrical re-release of "Fantasia". The short is available on two Disney DVD sets: it is a bonus feature on the "Fantasia 2000" DVD, and is one of the selected shorts included in the Walt Disney Treasures set ""  In 1962, Disney issued a re-recorded and expanded version of the short's music and voices on vinyl LP entitled "A Child's Introduction to Melody and the Instruments of the Orchestra." Thurl Ravenscroft provided the voice of the owl on the album. While the film was originally released into theatres as a part of a broader collection of shorts, it continues to be used today in music classrooms to provide an elementary understanding of how musical instruments work. "Toot, Whistle, Plunk and Boom" won the 1954 Oscar for Best Short Subject (Cartoons). The British Film Institute's magazine "Sight & Sound" offered it a negative review. Writer Roy Edwards summarized, "Despite its incredible borrowings from U.P.A., the new Disney cartoon ... confirms, if confirmation were needed, his imaginative abdication as a cartoonist."