Agnes de mille choreographed aaron copland's rodeo to blend
a. ballet with tap.
b. jazz with ballet.
c. ballet with square dance.
d. square dance with irish jig.

C. ballet with square dance.

Explanation:

     An important figure in American dance, Agnes de Mille is remembered for her personal contribution to the musical genre. However, Broadway was not the only stage of his creations and companies such as the American Ballet Theater, premiered productions of De Mille. A fan of interpretation and art since childhood, when she rode with her sister small domestic shows, it was not easy for Agnes de Mille to make her way into the dance. Getting her parents to let her go to ballet class, which they considered unimportant, was almost a miracle, and once it began, the criticism of some teacher for the overweight she appeared to be, did not wait. An example of perseverance and security in spite of everything, Agnes de Mille graduated from UCLA, moved from Hollywood to New York, and did her first job as a dancer and choreographer in Christopher Morley's The Black Crook. London, where he received the teachings of Marie Rambert, Antony Tudor and Frederick Ashton, was Agnes de Mille's next stop. And Black Ritual (1940), first dance play with black performers, his first ballet created for the American Ballet Theater. Agnes de Mille sat with the musical Oklahoma! (1943) a precedent in the history of the American musical. And during the forties, he became a reference in this genre with works such as One touch of venus (1943), Carousel (1945) and Brigadoon (1947), among others. Author of ballets like The bitter weird (1962) and The wind in the mountains (1965), books like To a young dancer (1962), The book of the dance (1963) and Lizzie Borden dance of death (1968), Agnes de Mille continued her professional activity almost until the year of her disappearance in 1993. An intense life dedicated to dance that the creator published in two autobiography volumes: Dance to thepiper (1952) and And promenade home (1958).