She won it for a recording of herself singing a medieval Scottish folk tune, which originally played under bridges. The news hit with a bit of a whimper, partly to do with the fact that crowds were outside the Tate protesting budget cuts rather than paying any attention to the Turner Prize, and maybe also partly because Philipsz's work is essentially undislikable. It's so delicate that you want to protect it. I first saw/heard it under the Muenster bridge in 2007; a half-year after that, she had a two-room installation at Western Bridge involving hate, lights off, and Shapenote. Here's a nice slideshow from that exhibition. (Remember that Mary Temple piece and the way the lights were never on in the gallery during that show? I can't help missing it.) The vid from the Guardian—after the jump—is great.