Mariasole De Pascali was born in 1988 in San Cesario di Lecce, in Italy's Salento area of Puglia. She started on flute in middle school and moved quickly into classical training, first at the Conservatory of Lecce and then at the Cherubini Conservatory in Florence. After graduating she worked briefly in an orchestra, but found the audition-driven, hyper-competitive routine of orchestral life a poor fit for her creative interests. A short stint afterward at the Monopoli Conservatory, in its old jazz-studies curriculum, put her under the sole direction of pianist Gianni Lenoci, whom she has credited as the teacher who changed how she looked at art altogether.

She reconnected with Lenoci years later inside Francesco Massaro's Bestiario project, and the two are heard together on the group's 2015 album Bestiario Marino (Desuonatori), De Pascali on flute and alto flute alongside Lenoci on piano and Fender Rhodes, a Discogs-verified credit. Bestiario became a formative home for her, and through it she also met bass clarinetist Marco Colonna, with whom she later worked as a duo; a home-recording session from that duo, "with Maria Sole De Pascali" (bass clarinet and piccolo), appeared on Colonna's self-released 2019 set My Community Is My Own Business, credited on its Bandcamp release page. Her other formative project of that period was Lamiee, electroacoustic composer Nicholas Remondino's ensemble, on whose Fisica (2021, Dinzu Artefacts) she plays flute on two tracks, and The Deafening Moment Of The Whistle After The Noise (2022, Shhpuma), credited alongside a larger electroacoustic ensemble billed as Drolo Ensemble, both Discogs-verified. She has also passed through Paolo Damiani's Orchestra Nazionale Jazz Giovani Talenti, the national training orchestra for young Italian jazz talent.

Her own catalog begins with Elements (2017, Leo Records), a collective free-improvisation session with Marialuisa Capurso, Patrick Battstone, Francesco Massaro, Adolfo La Volpe and Giacomo Mongelli, and continues through a 2023 limited cassette duo with guitarist Adolfo La Volpe, Mariasole De Pascali + Adolfo La Volpe Per Dei Suoni (Dei Suoni). Her first record under her own name alone, Fera (2022, Parco della Musica Records, distributed by Egea), paired her soprano flute, alto flute and piccolo with Giorgio Distante (trumpet, tuba, electronics), Adolfo La Volpe (electric guitar, baritone electric guitar, electronics) and Lucio Miele (drums, percussion, vibraphone), with double bassist Daniele Roccato guesting on one track, "La Cerimonia del Taglio (a KKD)." Fera is not indexed on Discogs; its personnel and release details are sourced from Musica Jazz's December 2022 review and an April 2023 All About Jazz interview. The album won her the Top Jazz 2022 "Nuovo Talento Italiano" (Best New Italian Talent) award in Musica Jazz magazine's annual critics' referendum, tied that year with trumpeter Alessandro Presti.

She now lives in Rome, where she continues to perform in improvised-music and contemporary-composition settings, including a 2022-2023 trio project, "Canto per l'Europa," with pianist Giovanni Guidi and violinist Anais Drago, inspired by Paolo Rumiz's book of the same name and performed at venues including Palazzo Farnese in Caprarola and Rome's Casa del Jazz; no studio recording of the project has surfaced. Her track "Cell Changes" was included on Top Jazz 2022, the annual compilation CD issued by Musica Jazz magazine alongside its critics' referendum.

De Pascali describes her own music as "fluid," resistant to fixed genre containers, built outward from her physical relationship to the flute rather than from a preset compositional plan; she has said she tends toward subtraction rather than addition when writing. Fera moves between passages she calls "scenes" - tightly written sections like "Cold Grey, Cadmium Yellow" and "Un Giorno Bianco" (both composed by La Volpe) - and stretches of total improvisation built from chosen intervals, rhythmic behaviors and sound objects rather than free-for-all playing. The title track is a flute solo using circular breathing and voice, a form she has linked to the solo-improvisation practice of Evan Parker, Peter Evans and Massimo De Mattia. She names Wadada Leo Smith, Eric Dolphy, Fausto Romitelli, Giacinto Scelsi, Olivier Messiaen, Mark Hollis and Christian Wallumrod among her listening influences, and cites bassist Joelle Leandre as a more recent inspiration for her directness as a performer. Her Discogs-documented catalog runs consistently under "Free Improvisation" and "Avant-garde Jazz" style tags, alongside real jazz-critical recognition (the Top Jazz award, an enthusiastic All About Jazz review of Fera), which places her work inside jazz's improvised and avant-garde wing rather than in classical performance, the field of her original conservatory training.